K - S T A T I O N

K-station polyphonic synthesizer

v

User Manual

in music, anything is possible.

Copyright: Novation E.M.S Limited 2002 K-Station User Guide Version 1.1a

Features and specifications subject to change without notice due to improvements

www.novationmusic.com

Table of Contents

Introduction..................................................... 2 Advanced Features...................................... 23

Using this Manual................................................... 2 Main Features......................................................... 2 Conventions used in this Manual........................... 2 Oscillator Menu....................................................23 Filter Menu...........................................................25 LFOs Menu.......................................................... 25 Envelopes Menu.................................................. 26 Effects Menus..................................................... 28 Delay menu......................................................... 28 Reverb Menu....................................................... 29 Chorus Menu....................................................... 29 Distortion Menu....................................................30 EQ Menu..............................................................31 Panning Menu..................................................... 32 Vocoder Menu......................................................33 Utilities Menu....................................................... 33 Global Menu........................................................ 35 Wheels Menu.......................................................37 Aftertouch & Breath Menu................................... 37 Arpeggiator Menu................................................ 38 Advanced Connection Diagram........................... 39 Factory Preset Sounds Listing......................... 40

Quick Start Guide........................................... 3

Connecting to audio and MIDI equipment............. Listening to the factory preset sounds................... Selecting Sounds................................................... Editing a sound...................................................... Saving a sound...................................................... Listening to the factory demonstration................... 3 3 3 4 4 4

Synthesis Tutorial........................................... 5
Elements of a sound.............................................. Oscillators and waveforms..................................... The Mixer............................................................... The Filter................................................................ Envelopes and Amplifier........................................ LFOs...................................................................... Memories............................................................... Summary................................................................ 5 5 6 7 8 9 9 9

Appendix...................................................... A-1
Technical Specification....................................... A-1 MIDI Controller List............................................. A-2 MIDI NRPN List.................................................. A-4 Packed Controller / NRPN Details..................... A-5 MIDI System Exclusive Messages..................... A-6 MIDI Implentation Chart...................................... A-12

MIDI Tutorial.................................................. 10
About MIDI........................................................... MIDI messages used by the K-Station................ MIDI and Sequencers.......................................... Summary.............................................................. 10 10 12 12

Main Features and Operation...................... 13 Index............................................................. I-1

Front Panel Layout............................................... 13 Modes and Menus............................................... 14 Oscillator Section................................................. 15 Mixer Section....................................................... 16 Filter Section........................................................ 17 LFO Section......................................................... 18 Envelopes Section............................................... 18 Volume and Keyboard Octave Controls.............. 19 Arpeggiator Section............................................. 19 Effects Section..................................................... 20 Display and Data Entry Section........................... 21 Mode and Keypad Section................................... 22

Using this Manual - Main Features - Conventions used in this Manual

Thank you for purchasing the Novation K-Station Synthesizer. This instrument is a keyboard version of the popular A-Station sound module. The design of the K-Station has evolved from the classic Novation Bass Station, using the very latest award winning Novation technology as found in acclaimed products such as the Nova and SuperNova II. The K-Station is capable of producing an enormous range of high quality synthesized sounds and is an ideal machine for a home studio set-up or for an experienced producer looking to add an extra dimension of controllable sound power. * Arpeggiator The arpeggiator features six different pattern types with adjustable gate time for staccato effects. * Comprehensive MIDI control specification Adjustments of any controls transmit MIDI Controller numbers or NRPNs for real time recording by a sequencer or computer. * Powerful Effects The effects processor includes Distortion, Stereo Chorus, Phaser, Reverb, Synchronized Delay and Synchronized Stereo Panning. Complex, dynamic timbres may be created using tempo synchronized effects settings. A final output EQ and Filter section complete with a tempo synchronized LFO allow for a performance to be automatically filtered and time locked from 32nd triplets through to several bars. * Data Compatibility The K-Station has been designed to be totally data compatible with the Novation A-Station. This ensures that existing sound libraries and global settings can easily be transferred between the two types of machine.

Using this Manual

This manual consists of six chapters, Introduction, Quick Start Guide, Synthesis Tutorial, MIDI Tutorial, Main Features and Operation, and Advanced Features. For easy reference, the chapter name is printed in the footer margin of each page. An Appendix on the final pages lists factory preset sounds, MIDI controllers and MIDI implementation chart. In order to become an expert user as quickly as possible, it is recommended that this manual is read in sequence chapter by chapter. If sound synthesis is an unfamiliar subject, then the chapter Synthesis Tutorial will provide a useful introduction to the techniques used to electronically simulate the sound of a musical instrument using an analogue music synthesizer. Another chapter, MIDI Tutorial provides a useful introduction to the subject of MIDI and how it is used for communication between instruments and / or sequencers. The chapter also describes how the KStation transmits and recognizes various types of MIDI messages. If the general principles of Sound Synthesis and MIDI are already familiar, then the Quick Start Guide is the place to begin. Once familiar with the main features of the machine, the Advanced Features section covers the Effects, Arpeggiator, Synchronization, Triggering and the Utilities, and will provide all of the information needed to operate the KStation in the most creative, productive way. Have fun !

Conventions used in this Manual

The word Program refers to a collection of knob and switch settings that define an individual Sound. These settings are then saved as a Program that has a corresponding number in the machines non volatile memory. Throughout this manual the two words, Sound and Program are frequently referred to and essentially have the same meaning. The word Preset refers to a Program which was set up at the factory to showcase some of the K-Stations powerful sound possibilities. Preset memories may actually be overwritten with new sounds, but it is possible to restore them to the original factory set sounds if they have been overwritten by mistake. Text in CAPITALS refers to a front panel control or legend (even though the name of the control may actually be in lower case on the front panel). It could be a knob or button. For example, FREQUENCY refers to the Filter frequency control knob. MENUS refers to the Menu Mode button.

Main Features
* Four hundred Program sound locations Two hundred factory programmed sounds are included and a further two hundred user sound memory locations are provided (the two hundred factory sounds may be overwritten). * Powerful Oscillators Three Oscillators provide Sawtooth, Square, Variable Pulse, Triangle and Sine waves. The Sawtooth, Triangle and Sine waveforms may be duplicated within an Oscillator to provide thicker sounding waveforms. Synchronization and FM between two Oscillators allow the generation of metallic or percussive timbres. A white noise source completes the waveform engine. * External Audio Input The Mixer allows an external audio signal to be combined with the Oscillators and processed through the Filter and Envelopes. Envelopes may also be auto-triggered by an external signal. * Filter The filter in the K-Station Synthesizer delivers the liquid sound of an analogue filter. Selectable Low-pass, 12dB or 24dB cut-off curves with Resonance, Overdrive and Resonance normalize make it easy to faithfully recreate anything from distorted rave screams to tightly rounded bass patches. * Vocoder The 12 band Vocoder makes it easy to create Robot and Talky sound effects.

Introduction

Connecting to audio equipment - Listening to factory preset sounds - Selecting Sounds

The fastest way to become familiar with the K-Station is to follow this quick start guide. It covers connecting up the K-Station, listening to the factory preset sounds, selecting sounds, editing a sound and saving a sound into a memory location.

Selecting Sounds
There are four ways to step through the factory preset sounds. In the K-Station, sounds are organized into 4 banks, each bank containing 100 sounds. These are referred to as Banks 1, 2, 3 and 4. Bank Bank Bank Bank 1 2 3 4 100 200 300 400 199 299 399 499 First bank of factory preset sounds Second bank of factory preset sounds First bank of user sounds* Second bank of user sounds

Connecting to audio and MIDI equipment

Before connecting the K-Station to other units in the system, ensure the power to all units is off. Connect an audio cable from the Left and Right master output sockets to a suitable amplifier or mixing desk stereo inputs. If the K-Station is to be operated in MONO, either output may be used. Connect the power supply (Novation PSU-6) to the socket Power In 9VDC and connect the adapter to the AC mains. Switch on the power. The K-Stations display will enter Program mode and show a Program number. Finally, switch on the other units in the Audio system (amplifier, mixer etc.). Although the K-Station has its own keyboard which would normally be used to trigger the internal sounds, it is still possible to play the KStation by connecting an external master keyboard if desired. If it is desired to use an external master keyboard or sequencer/computer, please refer to the advanced set up diagram illustrated on Page 39.
Left / Right Master Outputs Audio Input

1 - Using the 0 - 9 Keypad buttons Ensure that Menu Mode is not active (the LED above the MENUS button must not be flashing). If the K-Station is already in Menu Mode, simply press the MENUS button again to cancel Menu Mode. There must always be a three digit entry on the numeric keypad, for example : To select Bank 1 sound 8, press the 1, 0 and 8 buttons. The display will indicate that Program 108 has been selected. Provided the K-Station is not currently within a menu, the keypad buttons may be used to select a new Program at any time. 2 - Using the PAGE buttons Ensure the K-Station is in Program Select Mode by pressing the PROGRAM button. The display will show the text Program along with the current Program number. The PAGE buttons may now be used to move up or down to the next Program. Pressing and holding either button for a short period will cause the Program number to advance / decrease by a further 9 and then auto increment + or - 10 steps. This is useful for auditioning factory preset sounds that are set ten locations apart. For example Bass type sounds are at 100, 110, 120 etc. 3 - Using the DATA knob

Midi Sockets

Power In On/Off Phones

Rear Panel

Ensure the K-Station is in Program Select Mode by pressing the PROGRAM button. The display will show the text Program along with the current Program number. The DATA knob may be used to move up or down to the next Program. Turning the knob slowly will advance the current selection by one Program. Moving the knob more quickly will increase the number of Programs advanced. Once the end of a Program bank has been reached, the first Program of the next bank will automatically be selected. 4 - Using MIDI Program Change Commands A MIDI Program change message sent from an external sequencer or controller keyboard will instantly select the appropriate Program within the currently selected Program bank. A MIDI Bank Change message (CC32) received along with a Program change message will select the appropriate Program within the bank specified by the Bank Change message. If Bank Change messages are used, it is recommended that the Bank Change message is sent immediately before the following Program Change. A Bank Change data value of 001 is used to select Bank 1, a data value of 002 is used to select Bank 2 etc. Whenever a new Program is selected on the K-Station, both Bank Change and Program Change are transmitted via MIDI Out. Note that the K-Station does not have to be in Program Select Mode to respond to these MIDI messages. They can be received at any time.

Listening to the factory preset sounds

Set the VOLUME control to a reasonably high output level. This will maintain a good signal to noise ratio. Make sure that the input volume setting on the system amplifier or mixer is initially set to zero. The K-Station is initially set when it leaves the factory to receive on MIDI channel 1, so if using an external master keyboard or sequencer to trigger the K-Station, ensure that it is set to transmit on this channel. Playing the K-Stations own keyboard, master keyboard or sequencer will result in the currently selected factory preset sound being heard. A complete listing of the factory preset sounds is on Page 40. The first few locations of the user memory - sounds 300 - 305 contain initialisation examples. The descriptions these examples is also on Page 40.

Quick Start Guide

Editing a sound - Saving a sound - Listening to the factory demonstration

Editing a sound
Once familiar with the sounds that are available, select Program number 499. This is a very basic synthesizer sound which can be used as a starting point to create a new, more interesting sound for your own use. When this sound is played from the keyboard, it will be noticed that the volume of the sound instantly reaches its maximum level when a key is pressed, and dies away instantaneously as soon as the key is released. The most useful editing controls on the K-Station are found on the front panel and some of these will be now be used to modify (edit) this basic program. While playing the keyboard, adjust the Amplifier Envelope SUSTAIN control. Notice how that the sound level when holding a key down changes. Set this control to just over half. Now adjust the RELEASE control. Notice how, when a key on the keyboard is released the sound will now gradually die away.
SUSTAIN control RELEASE control

Exit Menu Mode either by pressing the MENUS button again or by pressing the PROGRAM button. (the LED above the MENUS button extinguish, indicating that the K-Station is no longer in Menu Mode). To save a Program to the same location Press the WRITE button. The display will now show the current Program number and the destination memory number where the Program is about to be saved to. In this example, Write to 499 ? Notice that the destination memory is always initially set to the currently selected Programs number. Press the WRITE button again. Overwrite 499 ? will be displayed. It is possible to abandon the save procedure at any point by pressing the PROGRAM button. The K-Station will return to Program Select Mode without saving the Program to memory. To proceed with the saving procedure, finally press the WRITE button again. This saves the edited Program to memory and once the sound has been written, the K-Station will return to Program Select Mode. To save a Program in a different location Press the WRITE button. The display will now show the current Program number and the destination memory number where the Program is about to be saved to. In this example, Write to 499 ? Notice that the destination memory is always initially set to the currently selected Programs number. The destination memory may now be selected by using the KEYPAD buttons, DATA knob or PAGE buttons in a similar manner as when selecting sounds in Program Select Mode. - In this example select 498 Press the WRITE button again. Overwrite 498 ? will be displayed. It is possible to abandon the save procedure at any point by pressing the PROGRAM button. The K-Station will return to Program Select Mode without saving the Program to memory. To proceed with the saving procedure, finally press the WRITE button again. This saves the edited Program to memory and once the sound has been written, the K-Station will return to Program Select Mode. Using the Compare Function After editing a sound it may be useful to compare it to the originally stored program. To illustrate this, select Program 498 (if not already selected) and adjust the filter FREQUENCY control knob in the filter section until the sound is less bright. Press and hold down the COMPARE button. The sound being listened to will now be the originally stored program. Notice in this example how the sound is now bright again. Releasing the COMPARE button will switch to listening to the edited (less bright) sound again.

attack Amp

decay

sustain

release

How quickly the sound dies away depends on the setting of this control. The sound is still a little too bright. Adjust the FREQUENCY control in the filter area. Notice how the sound becomes softer as the control is rotated anticlockwise. Continue to make adjustments until a desired sound is heard. The first small edit is now complete on the KStation! The edited sound must now be saved into a memory location if it is to be needed for the future.

Saving a sound
Sounds may be saved in any memory location. However, it is recommended that the user locations (Banks 3 and 4, 300 - 499 ) are used early on for saving new sound creations. The factory preset sounds in Banks 1 and 2 may also be overwritten if desired. Once these factory presets are overwritten, they may only be retrieved by performing a factory restore - See Page 33 (A backup of the factory preset or user programs, either one by one or by bank may be made to an external MIDI sequencer - Also see Page 33). NOTE: When the K-Station is shipped from the factory, the global memory protect switch is set to on. The memory protect switch is a safety feature designed to prevent memories from being overwritten by accident. Therefore, in order to save a sound, the global memory protect must be switched off. If an attempt is made to save to a memory while the global memory protect is still switched on, the K-Station will display a brief warning message. No data will have been written to memory. Switching off Global Memory Protect Press the MENUS button. The LED above the MENUS button will now light, indicating that the K-Station is in Menu Mode. Select the Global Menu by pressing the 7 button on the 0 - 9 numeric keypad. If necessary, use the PAGE buttons (immediately to the left of the display window) to scroll up and down the pages within the menu until the display shows Mem Protect and its current setting (ON or OFF). Use the DATA knob to turn memory protect OFF. Note: To make permanent (held even when power is off)any changes to the K-Stations global settings, See Page 35.

Listening to the factory demonstration

To complete this Quick Start Guide section, some time spent listening to the sounds that the K-Station is capable of producing will be of benefit when it comes to creating new sounds. Press the MENUS button - the LED above the button will light. Simultaneously press the both the keypad 1(oscs) and 2(filter) buttons. The Factory demonstration will begin to play. Once the demonstration has finished, the K-Station will enter Program Select Mode. It is also possible to stop the demonstration at any time while it is playing by pressing the PROGRAM button to return immediately to Program Select Mode.

Quick Start Guide

Elements of a sound - Oscillators and Waveforms

It is recommended that this chapter is read carefully if Analogue sound synthesis is an unfamiliar subject. Users familiar with this subject can skip this chapter and move on to the chapter - MIDI Tutorial on Page 10.
Wave A is louder than Wave B but is the same pitch

Volume

Wave A

Wave B

Elements of a sound
To gain an understanding of how a Synthesizer generates sound it is helpful to have an understanding of the components that make up a sound, be it musical or non musical. The only way that a sound may be detected is by air vibrating the eardrum in a regular, periodic manner. The brain interprets these vibrations (very accurately) into one of an infinite number of different types of sound. Remarkably, any sound may be described by just three terms, and all sounds always* have them. They are : * Volume * Pitch * Tone What makes one sound different to another is the proportion of these three qualities initially present in the sound and how these three terms change throughout the duration of the sound. With a musical synthesizer we deliberately set out to have precise control over these three terms and, in particular, how they can be changed throughout the duration of the sound. These terms are often given different names, Volume is referred to as Amplitude, Pitch as Frequency and Tone as Timbre. Pitch Taking the example of air vibrating the ear drum, the pitch is determined by how fast the vibrations are. For an adult human the lowest vibration perceived as sound is about twenty times a second, which the brain interprets as a bass type sound, and the highest is many thousands of times a second, which the brain interprets as an extreme treble type sound. Wave B is twice the pitch of Wave A Wave A Wave B Having shown that just three elements make up any sound, these elements now have to be related to a Musical synthesizer. It is logical that a different section of the Synthesizer Synthesizes (or creates) these different elements. One section of the synthesizer, the Oscillators, can generate multiple waveforms which provide the pitch of the sound along with its raw harmonic content (tone). These waveforms may be mixed together in a section called the Mixer. The mixed signal is then fed into a section named the Filter which is responsible for further altering the tone of the sound. It does this by removing (filtering) certain undesired harmonic frequencies. Lastly, the filtered signal is fed into a final section, the Amplifier which determines the final volume of the sound.

Oscillators

Mixer

Filter

Amplifier

Audio path of the main Synthesizer blocks

Additional synthesizer sections; LFOs and Envelopes provide ways of altering the pitch, tone and volume of a sound by interacting with the Oscillators, Filter and Amplifier. They introduce changes in the character of a sound that evolve thoughout the duration of the sound. Because the LFOs and Envelopes only purpose is to control (modulate) the other synthesizer sections, they are commonly known as modulators. These various synthesizer sections will now be covered in more detail.

Oscillators and waveforms

Oscillators

Time If the number of peaks in the two waveforms (vibrations) are counted, it will be seen that there are exactly twice as many peaks in Wave B as in Wave A. (Wave B is actually an octave higher in pitch than Wave A). It is the number of vibrations in a given period that determines the pitch of a sound. This is the reason that pitch is sometimes referred to as frequency. It is the frequency of the waveform peaks which are counted during a given period of time. Tone Musical sounds consist of several different related pitches occurring simultaneously. The loudest is referred to as the Fundamental pitch and corresponds to the perceived note of the sound. Pitches related to the fundamental are called harmonics. The relative loudness of these harmonics compared to the loudness of all the other harmonics (including the fundamental) determines the tone or Timbre of the sound. Consider two instruments such as a harpsichord and a piano playing the same note on the keyboard and at equal volume. Despite having the same volume and pitch, the instruments would still sound distinctly different. This is because the harmonics present in a piano sound are different to those found in a harpsichord sound. Volume Volume, which is referred to as the amplitude or loudness of the sound is determined by how large the vibrations are. Very simply, listening to a piano from a metre away would sound louder than if it were fifty metres away. The Oscillator is really the heartbeat of the Synthesizer. It generates an electronic wave (which creates the vibrations). This Waveform is produced at a controllable musical pitch, initially determined by the note played on the K-Station keyboard or a received MIDI note message. The initial distinctive tone or timbre of the waveform is actually determined by the waves shape. Many years ago, pioneers of musical synthesis discovered that just a few distinctive waves contained most of the useful harmonics for musical synthesis. The names of these waves reflect their actual shape when viewed on an instrument known as an Oscilloscope, and are known as, Sine waves, Square waves, Sawtooth waves, Triangle waves and Noise Waves. Each one has a specific fixed amount of musically related harmonics (except noise waves) which can be manipulated by further sections of the Synthesizer. *Noise is a special case since it contains all frequencies.

portamento
1 2 3

semitone
-1 0 +1 +2

detune

pwm depth/ pw position

position lfo 2 mod env

mod env depth

oscillator

octave

waveform

pw select

lfo1 depth

Synthesis Tutorial

Oscillators and Waveforms - The Mixer

The diagrams below show how these waveforms look on an Oscilloscope and illustrate the relative levels of their harmonics. Remember, it is the relative levels of the various harmonics present in a waveform which determine the tone of the final sound. In summary, the Oscillators generate Waveforms at a controllable pitch. These Waveforms determine the initial character (Timbre) of the sound.

The Mixer
To extend the range of sounds that may be reproduced, a typical Analogue synthesizer often has more than one Oscillator. By using more than one Oscillator when creating a sound, it possible to achieve very interesting harmonic mixes. It is also possible to slightly detune individual Oscillators against each other which creates a very warm fat sound. The K-Station has three independent Oscillators and a separate Noise Oscillator.
Mixer

Volume Volume
Sine Wave SineWave 1 Harmonic Harmonic

osc 1

osc 2

osc 3

Sine waves These have just a single frequency. This waveform produces the purest sound because it only has this single pitch (frequency).
noise ring 1*2 ext input

source

level

Volume Volume
Triaangle Wave TriangleWave 1 Harmonic Harmonic 3 5 7

For flexibility, a mixer section is included so that the amplitude (volume level) of each of the Oscillators may be adjusted independently and mixed together to form a harmonically complex waveform.

Triangle waves These contain only odd harmonics. The volume of each is the inverse square of its position in the harmonic series. For example, the 5th harmonic has a volume of 1/25th of the fundamental.

OSC 1
OSC 1

OSC 1 VOLUME OSC 1 VOLUME

MIXER MIXER OSC 2 OSC 2 OSC 2 VOLUME OSC 2 VOLUME

Volume Volume 2 3 4 Harmonic Harmonic 1 5

INPUT TO INPUT TO FILTER FILTER OSC 3 OSC 3 OSC 33VOLUME OSC VOLUME COMPLEX COMPLEX WAVEFORM WAVEFORM MIX OF MIX OF OSC1, AND OSC1, 22 & 3 3

Sawtooth Wave Sawtooth Wave

Sawtooth waves These have a rich proportion of harmonics, containing all the harmonics of the fundamental frequency. The volume of each harmonic is inversley proportional to its position in the harmonic series. As well as mixing together the individual Oscillators as shown in the diagram above, the mixer section of the K-Station also allows the relative volume levels of the Noise Oscillator, Ring Mod and any external sound source to be set.

Volume Volume
Square Wave Square Wave 1 Harmonic Harmonic 2 3 4 5

Square waves These only have only the odd harmonics present. These are at the same volume as the odd harmonics in a sawtooth wave.

Volume Volume
Noise Noise 1 Harmonic Harmonic 2 3 4 5

Noise waves These have no fundamental frequency (and therefore no pitched element). All frequencies are at the same volume. Because they have no perceivable pitch, noise waves are often useful for creating sound effects and percussion type sounds.

Synthesis Tutorial

The Filter
The Filter
The K-Station is an Analogue subtractive type of music synthesizer. Subtractive implies that part of the sound is subtracted somewhere in the synthesis process. The Oscillators provide the raw waveforms with plenty of harmonic content and it is the Filter that subtracts unwanted harmonics in a controllable manner.
Filter

Volume Volume

Cut off Cutoff Frequency frequency

Frequency Frequency

frequency

resonance

mod env depth

This diagram shows the response of a typical low pass filter. Frequencies above the cut off point are reduced in volume.

12 dB 24 dB

Volume Volume
slope key track lfo2 depth

Cut off Cutoff frequency Frequency

The Filter in the K-Station is a Low Pass type. A cut-off point is chosen and any frequencies below that point are passed and any above are filtered out. The setting of the FREQUENCY knob on the K-Station panel dictates the point below which frequencies are removed. This process of removing harmonics from the waveforms has the effect of changing the sounds character or timbre. When the FREQUENCY knob is set fully clockwise, the filter is set completely open and no frequencies are removed from the raw Oscillator waveforms. In practice, there is a gradual reduction in the volume of the harmonics above the cut-off point. How quickly these harmonics are reduced in volume above the cut-off frequency is determined by the Filters slope. This slope is measured in volume units per octave. Since Volume is measured in decibels, this slope is quoted in number of decibels per octave (dB). Typical values are 12dB or 24dB per Octave. The higher the number, the faster the harmonics are cut and the more pronounced the filtering effect.

Frequency Frequency

When resonance is added, frequencies at the cut off point are boosted in volume.

12 dB 24 dB

slope

The button on the K-Stations front panel marked SLOPE allows either the 12dB or 24dB type filter slope to be selected.

resonance

A further important feature of the Filter is the RESONANCE control. Frequencies at the cut-off point may be increased in volume by this control. This is useful for emphasizing certain harmonics of the sound. As the RESONANCE is increased, a whistling like quality will be introduced to the sound passing through the filter. When set to very high levels, RESONANCE actually causes the filter to self - oscillate whenever a signal is being passed through it. The resulting whistling tone being produced is actually a pure sine wave, the pitch of which depends on the setting of the FREQUENCY knob (the filters cut-off point). This resonance-produced sine wave can actually be used for some sounds as an additional sound source if desired.

Synthesis Tutorial

Envelopes and Amplifier

Envelopes and Amplifier
In earlier paragraphs, it was determined how the pitch and timbre of a sound is synthesized. This final part of the Synthesis Tutorial describes how the volume of sound is controlled. The volume throughout the duration of a sound created by a musical instrument often varies greatly according to the type of instrument.
Key "On" Key On Key Off Key "Off"

attack Amp

decay

sustain

release

Volume Volume

Each envelope generator has four controls which are used to adjust the shape of the envelope. The Envelope controlling the Amplifier uses sliders.

Time

Key "On" Key On

Key Off Key "Off"

An Organ sound quickly attains full volume when a key on the keyboard is pressed. It stays at full volume until the key is released, at which point the volume level falls instantly to zero.

Volume Volume Sustain Sustain Level Attack Decay Attack Decay

Release Release

Key On Key"On"

Key Off Key "Off"

Time Time

Volume Volume

When controlling Volume, these controls adjust the following phases of the Envelope as shown in the illustration.
Time

A = Attack time. Adjusts the time it takes when a key is pressed for the envelope to climb from zero to full volume. It can be used to create a sound with a slow fade in. D = Decay time. Adjusts the time it takes for the envelope to decay from full volume to the level set by the Sustain control while a key is held down. S = Sustain level. Sets the volume level that the envelope remains at while the key is held down, after the Decay time has expired. R = Release time. Adjusts the time it takes when key is released from the Sustain level to zero. It can be used to create sounds that slowly fade away in volume. A typical synthesizer will have one or more envelopes. One envelope is always applied to the amplifier to shape the volume of each note played. Additional envelopes can be used to dynamically alter other sections of the synthesizer during the lifetime of each note.

A Piano quickly attains full volume when a key is pressed and gradually falls back down to zero after several seconds, even if a key is held.

Key On Key "On"

Key Off Key "Off"

Volume Volume

Time

A String Section emulation attains full volume gradually when a key is pressed. It remains at full volume while the key is held down, but once the key is released, the volume level gradually falls to zero. On an Analogue synthesizer, changes which occur throughout the duration of a note are controlled by a section known as an Envelope Generator. The K-Station has two Envelope Generators. The circuit of one of these is always connected to an Amplifier, which controls the Volume of the sound when a note is played. Note that on the K-Station, there are no controls in a section on the front panel which deal with the Amplifier directly. The only way to hear and control an audio signal passing through the Amplifier is to modulate it by using Amp Envelope controls.

Envelopes
Mod

attack

decay

sustain

release

The K-Station has a second Envelope Generator which may be applied in various interesting ways. For example, it may typically be used to modify the filter cut off frequency or change an oscillators pitch during the lifetime of a note.

Synthesis Tutorial

LFOs - Memories - Summary

LFOs
Like the Envelope Generators, the LFO section on a synthesizer is a Modulator. That is to say, instead of forming a part of the sound synthesis process, it is used instead to modify (modulate) other synthesizer sections. For example, altering the Oscillator pitch or Filter cutoff frequency. Most musical instruments produce sounds that vary not just in volume but also in pitch and timbre. Sometimes this variation can be quite subtle, but still contribute greatly towards shaping the final sound. Where an Envelope is used to control a one-off modulation which occurs during the lifetime of a single note, LFOs modulate by using a cyclic repeating wave pattern. As discussed earlier, Oscillators produce a constant waveform which can take the shape of a repeating sine wave, triangle wave etc. LFOs produce waveforms in a similar way, but at a frequency normally too low to produce an audible pitched vibration that the human ear can perceive. In fact, LFO actually stands for Low Frequency Oscillator. The waveforms generated by the LFOs may be fed to other parts of the synthesizer to create the desired movements in the sound

Memories
The first generation of synthesizers, produced many years ago were large modular machines where each part of the synthesizer was housed in a separate unit (block). These blocks could only be physically connected together by combinations of cables known as patch leads. A typical sound produced by this method would often involve connecting dozens of patch leads. Every time a new sound was required, the leads would have to be physically disconnected and reconnected. The positions and connections of the leads would have to be noted down on paper if there was to be any hope of creating that particular sound ever again! If not reconnected in exactly the same way, the sound would be lost forever. Modern machines such as the K-Station have all the blocks in one compact unit and the sound generating or modulator blocks are arranged in a sensible fashion. Front panel switches and knobs determine how each block functions and where the sound modifying blocks such as the LFOs and Envelopes are routed, instead of having to physically connect them externally with cables. Additionally, the settings of these front panel controls (which of course determine the current sound or patch) may then be stored in memory locations in the machine which can be recalled at any time. An Analogue synthesizer can be broken down into five main sound

LFOs

speed

delay

Summary
generating or sound modifying (modulating) blocks.

1 2

s/h

1 2 3

Oscillators that generate Waveforms at a certain pitches. A Mixer that mixes the outputs from the Oscillators together. A Filter that removes certain harmonics, which changes the characteristic or timbre of the sound. An Amplifier that is controlled by an Envelope generator, that alters the volume of a sound over time when a note is played. LFOs and Envelopes that can be used to modulate any of the above.

lfo

waveform

The K-Station has two independent LFOs available which may be used to modulate different synthesizer sections and run at different speeds.

Pitch

Much of the enjoyment to be had with a Synthesizer is with experimenting with the factory preset sounds and creating new ones. There is no substitute for hands on experience. Experiments with altering knobs and buttons will eventually lead to a fuller understanding of how the various controls alter and help shape new sounds.
Time

A typical waveshape for an LFO would be a Triangle wave. Imagine this slow moving wave being applied to an Oscillators pitch. The result would be that the pitch of the Oscillator slowly rises and falls above and below its original pitch. This would simulate, for example, a violinist moving a finger up and down the string of the instrument whilst it is being bowed. This subtle up and down movement of pitch is referred to as the Vibrato effect. Similarly, if the same LFO were applied to the Filter Cutoff frequency instead of the Oscillator pitch, a similar wobbling effect known as wowwow would be heard. As well as LFOs being available to modulate different sections of the synthesizer, additional Envelopes may also be used simultaneously. Clearly the more Oscillators, Filters, Envelopes and LFOs there are in a Synthesizer, the more powerful it becomes.

Armed with the knowledge in this chapter, and an understanding of what is actually happening in the machine when tweaks to the knobs and buttons are made, the process of creating new and exciting sounds will become easy - Have fun.

Synthesis Tutorial

About MIDI - MIDI messages used by the K-Station

It is recommended that this chapter is read carefully if you are unfamiliar with how MIDI works. Experienced users can skip this chapter and move on to the next chapter Main Features and Operation on page 13. Some instruments may not have a MIDI Thru socket fitted. In these cases, the instrument should be placed at the end of the MIDI chain or a Thru box should be incorporated into the MIDI system.
Synth [1]

About MIDI
MIDI is an acronym for Musical Instrument Digital Interface. The MIDI standard was devised in the early 80s as a means for allowing musical instruments to communicate with each other as well as with other devices such as sequencers and computers. Before the advent of MIDI, it was very difficult (if not impossible) for instruments to effectively communicate with each other, especially if they had been made by different manufacturers. Nowadays, most types of electronic musical equipment are equipped with a MIDI interface fitted as standard, including synthesizers, drum machines, samplers, sequencers, computers and even some effects units. The MIDI standard allows many different instruments to be controlled at once (say from a sequencer) using the same network of MIDI cables. Each instrument in the MIDI chain is usually assigned its own unique MIDI channel and will only respond to information that it may receive on that particular channel. The MIDI standard allows for sixteen different channels to be assigned to the various instruments in a MIDI network, which of course means that it is possible to have up to sixteen instruments playing simultaneously within a MIDI system. It might be felt that being restricted to just sixteen MIDI channels would be a little limiting, especially for very complex pieces of music. However, some sequencers and MIDI ports for computers offer a neat way around this problem. They can offer several different MIDI outputs, each of which is treated as a separate MIDI system in its own right with its own set of sixteen MIDI channels. The K-Station has three MIDI sockets fitted at the rear, labeled In, Out and Thru. Each one of these sockets has a specific purpose :
Sequencer Out MIDI Thru Box In Thru Thru Thru

In Synth [2] In

Synth [3] In Star method of connecting three MIDI devices to a sequencer

A Thru Box simply provides a number of identical MIDI Thru sockets from a single MIDI In. It is important to realise that MIDI information flows in one direction only along the cable. It is not possible to have a MIDI In socket connected to another MIDI In socket for example. If this were done, the MIDI network would simply not work! In fact, the only routings allowed are MIDI Out to MIDI In or MIDI Thru to MIDI In. Some devices known as controllers are equipped with only a single MIDI Out socket and are used exclusively to generate MIDI data for controlling other instruments. Examples of common MIDI controllers are controller keyboards (these are simply keyboards with no synthesizer attached), drum percussion pads or footswitch controllers.

MIDI messages used by the K-Station

The K-Station is capable of transmitting and responding to various types of MIDI events. These are as follows : NOTE MESSAGES The MIDI In socket is used to receive MIDI information to the KStation, such as telling it which notes to play from a sequencer for example. The MIDI Out socket transmits any MIDI information which might be generated by the K-Station. For example, if a note was played on the K-Stations keyboard or one of the knobs were moved on the front panel. The MIDI Thru socket simply re-transmits any MIDI information that has been received at the MIDI In socket. This socket is useful for connecting other instruments into the same MIDI network. By connecting a cable from the K-Stations MIDI Thru to another instruments MIDI In socket, both the K-station and the second instrument could be controlled simultaneously from a sequencer.
Sequencer Out In Synth [1] Thru Synth [2] In Thru Synth [3] In

A note message is transmitted every time a key on the K-Stations keyboard is pressed down or released. When a keyboard note is pressed down, the MIDI message also includes velocity information. The velocity value in the MIDI message represents how hard the key was pressed down. This velocity value can be used to add dynamics to the sound, depending on how hard the note was played. CONTROL CHANGE MESSAGES These messages are transmitted whenever one of the K-Stations knobs or sliders are moved on the front panel. Most settings within a menu will also transmit MIDI control change messages when the setting is altered with the DATA knob. The MIDI specification allows for 128 different types of controller message. These are often referred to as Continuous Controllers (CC0 to CC127). Some controllers are rigidly defined by the MIDI standard for specific functions. For example, CC1 is always used for the modulation wheel. Therefore, whenever you move the K-Stations modulation wheel, it will transmit MIDI control change information using CC1. All other makes of synthesizers will also use CC1 for modulation wheel data. However, certain other control change numbers have no set purpose within the MIDI specification. For example, whenever the K-Stations Filter FREQUENCY knob is moved, it will transmit using CC105. There is no guarantee however that other makes of synthesizer will use this control change number for the same purpose. The K-Station actually has many more than 128 different control settings that can be transmitted by MIDI, but because the number of different types of control change message is limited to just 128, the KStation sometimes has to use a more complicated arrangement for transmitting certain settings. This method uses what is known as NRPNs.

Chain method of connecting three MIDI devices to a sequencer

As seen above, if desired, the process can be repeated; a third instrument could be added to the same MIDI network, simply by connecting a cable from the second instruments MIDI Thru to the third instruments MIDI In, and so on.

MIDI Tutorial

10

MIDI messages used by the K-Station

(NRPN stands for Non Registered Parameter Number). Users new to MIDI only need to know at this stage that NRPNs actually consist of three MIDI control change messages grouped together, rather than a single MIDI control change message which is used normally. A full list of MIDI Control Change messages and NRPNs used by the K-Station can be found in the Appendix towards the end of this manual. PITCH BEND MESSAGES These messages are transmitted whenever the K-Stations pitch bend wheel is moved. AFTERTOUCH MESSAGES These messages are transmitted by some keyboards whenever already-held down keyboard notes are pushed further or wiggled. Aftertouch messages can be used to add extra expressiveness to a sound, for example introducing an extra vibrato effect. Although the KStations keyboard itself cannot generate MIDI aftertouch messages, the K-Stations synthesizer engine can still respond to aftertouch if it is received via the MIDI In socket from another keyboard or sequencer. The MIDI specification actually defines two different types of aftertouch message; mono and poly. The type recognized by the K-Station is the mono type. Poly aftertouch includes information in the MIDI message about which keyboard note was used to trigger the aftertouch effect. Poly aftertouch is actually very rarely found nowadays as only a very few synthesizers ever used it. PROGRAM CHANGE MESSAGES These messages are transmitted by the K-Station whenever a new sound is called up from the front panel. However, the MIDI Specification actually only allows a MIDI program change message to select one of 128 different sounds. When the MIDI specification was originally designed, this was rarely a problem since synthesizers in those days rarely had more than 128 memories. Modern synthesizers of today such as the K-Station often offer very many more memories than this (the K-Station actually has 400 memories divided into four banks of 100 memories each), so it is often convenient to send a MIDI program change preceded by an additional MIDI message which specifies which bank of sounds the following program change message will select from. The bank select MIDI message used for this purpose is actually a MIDI control change message (CC32 is the control change number used). Whenever a new sound is selected on the K-Station, the bank select MIDI message is transmitted, followed closely by the appropriate MIDI program change message. If these messages are then later played back into the K-Station from a sequencer, the appropriate sound will be then selected instantly. It is not strictly necessary to always send a bank select message before the program change message (though recommended). It is permitted to omit the bank select, but if this is done, the program change message will select the sound from whatever bank of sounds is currently selected. Channel Messages All of these different types of MIDI message detailed above include information detailing which MIDI channel was used when the message was transmitted. MIDI channel messages will only affect receiving devices using the same MIDI channel. For example, a pitch bend message sent using MIDI channel 1 would have no effect at all if it were received on a synthesizer set to respond on MIDI channel 2. Some MIDI messages do not include any MIDI channel information defined in them. Some examples of these are : MIDI CLOCK MESSAGES These are synchronization messages sent from a sequencer. When received, they enable tempo-locked features of the K-Station such as the arpeggiator and various effects settings (such as Panning and Delay sync) to follow the current tempo of the sequencer. The KStation itself does not transmit MIDI clock messages, so it can only be synchronized to follow the tempo of other devices and not vice versa. Whenever an external sequencer is started, a Start Song MIDI message is usually transmitted. Certain features on the K-Station can be set to reset their synchronisation when a Start Song message is received. SYSTEM EXCLUSIVE MESSAGES This is a special type of MIDI message which can actually contain any type of data, depending what the synthesizer manufacturer decides to put in it! The only constraint with system exclusive messages is that they always contain certain header information which is exclusively used by the manufacturer (and usually the relevant synth model as well). What this effectively means is that a K-Station will only accept a system exclusive message designed especially for it. If the K-Station should receive a system exclusive message transmitted by a different make of synthesizer, the message would simply be ignored. Similarly, other makes of synthesizer will ignore any system exclusive messages originally sent by a K-Station. Novation have employed system exclusive messages for two distinct purposes on the K-Station. Firstly, they can be used to back up all of the K-Stations memories and global data. This feature is extremely useful in building up a sound library on a computer or for making a safety copy of sound and global data. This data backup format is actually fully compatible with the Novation A-Station, so it is easily possible to transfer sounds from the A-Station to the K-Station or vice versa. Data backup is discussed in detail on Page 33 in the Advanced Features chapter. Secondly, Novation also use system exclusive messages to enable a K-Station to update its entire operating system via MIDI. The latest operating system for the K-Station is always available free of charge at the Novation web site. From there, it can be downloaded as an SMF (Standard MIDI File). Because the operating system update consists purely of MIDI system exclusive messages, it can then be transferred to the K-Station simply by playing the file on a sequencer directly into the K-Station. However, as a safety feature, the K-Station has to be put into a special mode where it will accept the operating system update. Full details on how to do this will be supplied when you download the update. For list of the latest operating system updates please see the Novation Website :

www.novationmusic.com
A MIDI Implementation Chart provides a concise way of telling at a glance which MIDI messages an instrument will transmit and respond to. A MIDI Implementation Chart for the K-Station can be found on in the Appendix towards the end of this manual.

11

MIDI Tutorial

MIDI and Sequencers - Summary

MIDI and Sequencers
A sequencer is simply a device which is capable of recording, storing and playing back MIDI information. Using a sequencer, it is possible to construct very complex musical arrangements which would normally be impossible to play live. It is also very easy to edit the MIDI data and remove any unintended mistakes or make changes in the playing style. Many people nowadays use software sequencing packages on computers, but there are also dedicated hardware sequencers available which perform in a similar way. All sequencers can record MIDI information exactly as played on the synthesizers keyboard. To do this with the K-Station, make sure the MIDI Out from the K-Station is connected to the sequencers MIDI In and start the sequencer recording. Any keys played on the keyboard or knob / wheel movements made will be faithfully recorded. This is known as real time recording. As long as the sequencers MIDI Out is connected to the K-Stations MIDI In, this MIDI information can then be played back into the K-Station, exactly reproducing all the actions made and notes you played while recording the sequence. On most sequencers, it is also possible to enter new MIDI events in step time by explicitly defining each MIDI event without having to supply the relevant MIDI data to the sequencers MIDI In socket. Obviously, some knowledge of MIDI is required in order to do this. Nearly all sequencers offer multiple recording tracks. These tracks behave in a similar fashion to multi-track tape recorders, except that instead of holding audio recordings, they hold their own record of MIDI data. Usually, each sequencer track will contain MIDI data associated with a distinct MIDI channel. By using sequencer tracks in this way, it would typically be possible to build up a complex song arrangement with one track being used to control the drums, another the bass line, another the lead sound and so on. It should be remembered that the K-Station is a mono-timbral instrument which means that it is only capable of playing one type of sound at any one time. If it is desired to create complex pieces of music using a sequencer, it will therefore become necessary to either use a multi track audio recorder to record each track played, or a computer based hard disk audio recorder, or include other instruments into the MIDI network alongside the K-Station. When using a sequencer, some careful thought should be given as to the way the MIDI information is routed through the sequencer. With most sequencers, any MIDI information that appears at the sequencers MIDI In socket is immediately re-transmitted again from the sequencers MIDI Out socket. If desired, it is sometimes possible to turn this feature off. It usually called echo back or soft thru. Consult your sequencer manual for details. It is very important to realise that if soft thru is enabled on a sequencer, the MIDI information re-transmitted by the MIDI Out socket is always converted to the MIDI channel used by the currently selected sequencer track. This means that if a track is selected on a sequencer which uses MIDI channel 2, and the sequencer then receives some MIDI information from a K-Station sent on MIDI channel 1, it will be retransmitted by the sequencer not on MIDI channel 1, but MIDI channel 2. (This is known as re-channelising) This would be quite useful for programming parts into the sequencer for other MIDI devices, but can lead to some quite unexpected results if careful note is not kept of exactly what is happening ! Because many sequencers re-channelise MIDI information in this way, it is quite possible to use the K-Station as a master keyboard to supply MIDI information and notes that the sequencer will use to control other MIDI equipment, for example a sampler. To do this, firstly the sequencer track must be selected which corresponds to the same MIDI channel that the sampler is using. However, it would noticed that as soon as notes are played into the sequencer from the K-Station keyboard, the K-Station would play as well as the sampler. To overcome this problem, there is a feature on the K-Station called Local Control. Local Control Local Control is a setting found in the Global Menu (see page 34 for details) which in effect is a switch, that connects or disconnects the KStations keyboard and panel controls from the K-Stations synthesis engine. When the keyboard is played or the front panel controls are moved, they still transmit the usual MIDI information but they have no direct control of the K-Station. When Local Control is set to OFF, the only way that the K-Stations keyboard or controls can be used to play the K-Station is when the MIDI information sent from the K-Station is routed through the sequencer (with the correct sequencer track selected), back to the K-Stations MIDI In socket. When not connected correctly to a sequencer, having Local Control set to OFF is a common cause of mistakenly assuming that the KStation is faulty. When the K-Station appears to ignore its keyboard and front panel controls, setting Local Control to ON or selecting the correct sequencer track will usually rectify the problem.

Summary
The K-Station transmits MIDI information whenever the keyboard is played, front panel controls are moved or when a new Program is selected. MIDI information is split into 16 channels. The K-Station can be set to receive / transmit on any one of these channels at any one time. MIDI information travels in one direction along a MIDI cable. The only permitted connections are MIDI Out to MIDI In, or MIDI Thru to MIDI In. MIDI messages can be recorded into a sequencer and later replayed back into the K-Station, replicating whatever actions occurred when the MIDI messages were originally transmitted. Sequencers usually re-transmit any MIDI information they receive immediately, converting the messages channel information into whatever MIDI channel the currently selected sequencer track is using. Because of this, the K-Station may be used as a Master Keyboard to control all MIDI devices in a MIDI network. An option called Local Control disables the K-Stations keyboard and controls from the K-Stations synthesizer engine. When set to OFF, playing the K-Stations keyboard or moving the front panel controls only results in MIDI information being transmitted. Setting Local Control to OFF allows the K-Station to control other MIDI instruments without triggering notes or altering settings on the KStation directly.

Sequencer Soft Thru set to On Out In

K-Station In Out Thru

Synth [2]... etc

In

Typical example of using the K-Station as a Master Keyboard in a MIDI system

MIDI Tutorial

12

Front Panel Layout

This chapter describes the main front panel controls and how they affect a sound and the operation of the K-Station.

Front Panel Layout

Oscillators

Mixer

Filter

LFOs

Envelopes
Mod

portamento
1 2 3

semitone
-1 0 +1 +2

detune

pwm depth/ pw position

position lfo 2 mod env

mod env depth

osc 1
noise ring 1*2 ext input

osc 2

osc 3

frequency

resonance

mod env depth

speed

delay Amp

attack

decay

sustain

release

12 dB 24 dB

1 2

s/h

oscillator

octave

waveform

pw select

lfo1 depth

source

level

slope

key track

lfo2 depth

lfo

waveform

Arpeggiator

Effects
delay reverb chorus distortion EQ panning vocoder

osc's page program data program program menus

filter

lfo's

env's

effects

1
utilities

2
global

3
wheels

4
aftertouch breath

5
arp

select

volume octave

tempo on/off

level

compare

write

pitch

mod

10

11

12

1 - Oscillator Section Contains the controls associated with the Oscillators. These include the PORTAMENTO, SEMITONE tune, DETUNE, PWM DEPTH / PW POSITION, MOD ENV DEPTH and LFO 1 DEPTH knobs and the OSCILLATOR select, OCTAVE, WAVEFORM and PW buttons. 2 - Mixer Section Contains the controls associated with the Mixer. These include the OSC 1 level, OSC 2 level, OSC 3 level and source LEVEL knobs and the mixer SOURCE button. 3 - Filter Section Contains the controls associated with the Filter. These include the FREQUENCY, RESONANCE, MOD ENV DEPTH, KEY TRACK and LFO 2 DEPTH knobs and the filter SLOPE button. 4 - LFO Section Contains the controls associated with the K-Stations two LFOs. These include the SPEED and DELAY knobs and the LFO select and WAVEFORM buttons. 5 - Envelopes Section Contains controls associated with the K-Stations two Envelopes. There are two sets of ATTACK, DECAY, SUSTAIN and RELEASE controls. Knobs are used for the Mod Envelope and Sliders are used for the Amp Envelope.

6 - Master Volume and Keyboard Octave buttons 7 - Performance Controls Section Contains the PITCH bend and MODulation wheels. 8 - Arpeggiator Section Contains controls associated with the Arpeggiator. These include the TEMPO knob and Arpeggiator ON / OFF button. 9 - Effects Section Contains controls associated with the various effects. These consist of the Effects LEVEL knob and the Effects SELECT buttons. 10 - Display and Data Entry Section Contains the display, a DATA / PROGRAM knob and two PAGE / PROGRAM buttons. 11 - Two Octave Keyboard 12 - Mode and Keypad Section Contains the PROGRAM, MENUS, COMPARE and WRITE buttons and the numeric keypad / Menu select buttons.

13

Main Features and Operation

Modes and Menus

Modes and menus
The K-Station has three modes of operation. 1. Program Select Mode This mode enables a new Program to be selected from the front panel controls. Program Select Mode may be selected at any time by pressing the PROGRAM button. While in Program Edit Mode, it is possible to return to Program Select Mode by pressing the PROGRAM button. As in Program Select Mode, it is also possible to select a new Program directly by entering three digits on the 0 - 9 / Menu select buttons. After selecting a new Program in this way, the K-Station will enter Program Select Mode. Note : By altering the Global Prog Mode Display Control setting, it is possible to make the K-Station always automatically revert back to Program Select Mode after a short period of time. See Page 36 in the Advanced Features chapter for more details. 3. Menu Mode Many of the K-Stations more advanced features and utilities are only available from within menus. The K-Station has ten separate menus, each of which consists of several pages linked together. Menu pages may only be accessed while the K-Station is in Menu Mode. Menu Mode is entered by pressing the MENUS button.

program

While the K-Station is in Program Select Mode, the display will show the currently selected Programs number. For example,

menus page program

Prog Number .123

data program

Once in Program Select Mode, it is now possible to select a different Program by one of three methods. i) The DATA / PROGRAM knob may be used to select a new Program. Programs can be selected forwards or backwards from the one currently selected. Turning the knob quickly increases the intervals jumped between Programs. ii) The PAGE / BUTTONS may also be used to step forwards or backwards from the currently selected Program. If a PAGE / PROGRAM button is held down, the Programs will jump in intervals of ten. This can be useful since the Preset Programs have been grouped in types located ten Programs apart. iii) Programs may also be explicitly selected by typing a three digit sequence on the numeric buttons. The Program will not actually be selected until the third digit has been entered. Note that the K-Station does not have to be in Program Select Mode in order to select a new Program via MIDI (from a sequencer for example). A new Program may be selected via MIDI at any time and in any mode. 2. Program Edit Mode As soon as any of the front panel settings are altered, the K-Station will exit Program Select Mode and the display will show the new value of the control just altered. By altering a setting in this way, The K-Station automatically enters Program Edit Mode. If for example, the Filter FREQUENCY knob was adjusted to 100, the display would now show

The K-Station always indicates that Menu Mode is active by illuminating the LED situated above the MENUS button. As soon as Menu Mode is entered, the display will show a page of whichever menu was accessed the previous time Menu Mode was used. For example, if the Filter Menu had been previously selected, the display would show one of the pages of the filter menu as below. - The exact page will depend on the setting of the New Menu Always Page 1 found in the Global Menu as described on page 36. The PAGE buttons to the left of the display can be used to navigate

page program

FILT Q Norm 013

data program

forwards and backwards between the menus pages. Once the desired menu page has been reached, the setting can be altered by using the DATA knob. In Menu Mode, a different menu may be selected by pressing the appropriate 0 - 9 / Menu Select button. The ten menus available are associated with the Oscillators, Filter, LFOs, Envelopes, Effects, Utilities, Global settings, Wheels, Aftertouch / Breath Control and the Arpeggiator.

osc's

filter

lfo's

env's

effects

1
utilities

2
global

5
arp

aftertouch wheels breath

page program

filter freq .100

data program

In Menu Mode it is still possible to alter any of the front panel controls, but it will be noticed that when a knob is moved, the display text for the knob just moved will only be shown on the screen for a short period of time (as set by the Function display time in the Global Menu on Page 36) After a short time, the display will revert back to showing the current menu page. It is possible to leave Menu Mode and return to Program Select Mode by pressing the MENUS button again (the LED above the MENUS button stops blinking), or by pressing the PROGRAM button.

Note: The character next to the first numeric digit will alter its shape as controls are moved. This is the Original Value indicator and is explained in detail on Page 22. Once a setting has been called up to the display in this way, the DATA / PROGRAM knob may also be used to adjust settings value.

Main Features and Operation

14

Oscillator Section
Oscillator Section
The Oscillators generate pitched waveforms (as described in the Synthesis Tutorial chapter) and these are fed into the Mixer. Most of the controls that determine the pitch and waveform of the Oscillators, and how they react to modulation are in this area. a square waveform using the WAVEFORM button in the Oscillators section. Notice how the timbre changes to a more woody sound. Select POSITION using the PW SELECT button. Rotate the PWM DEPTH / PW POSITION knob and notice how the sound changes to a very thin nasal sound when the knob is towards the clockwise or anticlockwise end stop positions. (If fact the sound will extinguish completely at maximum settings). Leave the knob at the 12 oclock position. Select LFO 2 using the PW SELECT button. Slowly rotate the PWM DEPTH / PW POSITION knob. Notice that there will now be some movement in the sound. Select LFO 2 in the LFOs section using the LFO button. Rotate the SPEED knob in this section and notice how the speed of the movement will change. Experiment with the above controls until the desired sound is achieved. Obtaining a Double Saw thick detuned sound. A thick Double Saw detuned sound using just a single Oscillator may be created easily. If necessary this sound can be stacked using additional Oscillators to product a huge sound. Select one of the factory initialisation sounds ( 311 - 499). All of these initial sounds use only use Oscillator 1 set to a sawtooth as the source waveform. Select POSITION using the PW SELECT button. Rotate the PWM DEPTH / PW POSITION knob fully clockwise. As the control is rotated, a double sawtooth wave is generated. At this fully clockwise position the pitch will appear to double. Select LFO 2 using the PW SELECT button. Slowly rotate the PWM DEPTH / PW POSITION knob. Notice that there will be some movement in the sound. Select a sawtooth LFO wave using the WAVEFORM button in the LFOs section. Press the LFO button to select LFO 2. Rotate the SPEED knob in this section and notice how the speed of the movement will change. Experiment with the above controls until the desired sound is achieved. PORTAMENTO knob This knob adjusts the Portamento effect. With this control set to zero, when the keyboard is played, the pitches of notes change instantly from one pitch to another as different keyboard notes are played. Turning the knob clockwise introduces the Portamento effect. Notes will glide smoothly from one pitch to the next. Increasing the amount will slow the time taken for the pitch of the first note to reach that of the second note played. SEMITONE knob Raises or lowers the selected Oscillators pitch in semitone increments up to a full octave. By setting the pitch of Oscillator 1 to zero and adjusting the pitch of Oscillator 2 and 3 by differing amounts results in some musically pleasing intervals. Settings 5 (a perfect 4th), 7 (a perfect 5th), 3 (minor 3rd), 4 (major 3rd), 8 (minor 6th) and 9 (major 6th) offer the best results. DETUNE Knob Sets the detune amount in Cents for the selected Oscillator 1,2 or 3. If it is set fully clockwise, Oscillators pitch will be 50 cents sharper than its basic pitch, fully anticlockwise and it will be 50 cents flat. Slight detuning between each Oscillator will enrich the sound by introducing a beating between the Oscillators (in the same way a 12-string guitar sounds richer than a 6-string). Bass and lead sounds can be fattened up using a small amount of detune. Large amounts of detuning will lead to more extreme effects. MOD ENV DEPTH Knob Controls the amount of pitch modulation to the currently selected Oscillator from the Mod Envelope. In the centre position there is no effect on the oscillator's pitch, anticlockwise the effect is negative (i.e. the pitch drops and then rises) and clockwise positive (the pitch rises and then falls). See Envelopes Section, on Page 18 for the setting of the rise and fall times.

Oscillators

portamento
1 2 3

semitone
-1 0 +1 +2

detune

pwm depth/ pw position

position lfo 2 mod env

mod env depth

oscillator

octave

waveform

pw select

lfo1 depth

OSCILLATOR Select Button There are three independent Oscillators and each one can be independently controlled by the buttons and knobs in the Oscillator area. To make make the controls active and see waveform and octave for Oscillator 1, press the OSCILLATOR button once or more until LED 1 lights, for Oscillator 2 press until LED 2 lights and for Oscillator 3 press until LED 3 lights. OCTAVE Button Sets the basic pitch of Oscillator 1, 2 or 3 in Octave jumps. To change the basic pitch of the selected Oscillator to +1 octave for example, repeatedly press the OCTAVE button until the +1 LED lights. NOTE: The 0 position corresponds to the pitch of 440Hz when note A above middle C is played. WAVEFORM Button This control sets the currently selected Oscillators waveform. Repeatedly press until the desired waveform shape LED light. PW (Pulse Width) SOURCE button and PWM (Pulse Width Modulation) DEPTH / PW POSITION knob The function of the PWM DEPTH/PW POSITION knob is dependent on the selection of the PW SELECT button. With the POSITION setting selected, the PWM DEPTH/PW POSITION knob will manually control the pulse width of a square waveform (the selected waveform for the Oscillator must be Square wave for this to happen). In order to understand how the Pulse Width knob affects various waveforms, examples, using factory presets are used. See the following paragraphs titled: Obtaining a classic Square/Pulse PWM sound and Obtaining a Double Saw thick detuned sound. With the PW POSITION knob in the central position, the Pulse Width wave becomes a square wave. As the knob is adjusted clockwise, or anticlockwise, the Pulse Width becomes narrower producing what is termed as a Pulse Wave. With the LFO 2 position selected by the PW SELECT button, the width of the Pulse Wave may be modulated by LFO 2. The intensity of this modulation is determined by the PWM DEPTH knob. With the Pulse Width knob at central position there is no effect. Turning clockwise or anticlockwise introduces the effect. Continuous variation in the width of a pulse waveform (which is what is happening when LFO 2 is modulating it) changes the harmonic content. This is pleasing to the ear, especially at lower pitches where all the associated harmonics fall within the audio range. This creates the classic PWM sound, as described below. When modulated by the MOD ENV, the effect is most apparent when using fairly long Mod Env Attack and Decay times. Obtaining a classic Square/Pulse PWM sound The PWM sound is one of the classsic analogue synthesizer sounds. Select one of the factory initialisation sounds ( 311 - 499) All of these initial sounds use only use Oscillator 1 as the source waveform. Select

15

Main Features and Operation

Mixer Section
LFO 1 DEPTH Knob Controls the amount of pitch modulation to an Oscillator from LFO 1. It controls how much above and below the basic pitch the Oscillator regularly rises and falls. If the LFO is set to Triangle wave and the LFOs speed knob is above the centre of its range, this will produce a vibrato effect. Other effects like a siren or sea gull cry are possible with more extreme settings. Other functions associated with the Oscillators can be found in the Oscillators Menu. See Pages 23 - 24.

Mixer Section
The Mixer makes it it possible to combine the outputs of Oscillators 1,2 and 3, the Noise source, the Ring modulator and the external Audio Input. The ability to mix together any or all of these sound sources makes it easy to create complex timbres.

Mixer

osc 1
noise ring 1*2 ext input

osc 2

osc 3

source

level

OSC 1, OSC 2 & OSC 3 Knobs Controls the volumes of the three Oscillators. Fully anticlockwise results in no signal. In this position and with all the other Mixer levels turned down, there will be no audio output. Fully clockwise results in full volume for this Oscillator. SOURCE Button and LEVEL Knob The SOURCE button selects which sound source the LEVEL knob will control. With the NOISE position selected, it controls volume of the White Noise Generator. White Noise is useful for creating sound effects such as Wind. With the RING 1 * 2 position selected, it controls the volume of the Ring Modulator. Ring Modulation is useful for creating harder Metallic tones. With the EXT position selected, it controls the volume of an external audio signal connected to the INPUT socket on the K-Stations rear panel. This signal can be processed by the filter, envelopes and effects. An external audio signal may be a microphone, CD player, guitar etc. With a little experimentation, quite effective and dramatic changes to the sound can be produced : Filtering, wah-wah, gating, using the Effects Section for adding reverb, chorus etc. Experiment ! Note: All three sound sources may be used simultaneously and if they are, it may be necessary to reduce the Program Level dB in order to avoid signal distortion (see page 26).

Main Features and Operation

16

Filter Section
Filter Section
The K-Stations Filter is a Low Pass type. As the FREQUENCY knob is adjusted anticlockwise, harmonics are gradually removed from the sound. When almost closed, only the fundamental frequency remains. Fully closed and no sound at all passes. This type of Filter is musically the most useful, especially for bass sounds. KEY TRACK Knob Controls the amount of change to the filter Cut off (set by the FREQUENCY knob) by the pitch of the note played. Set fully anticlockwise and there is no change to the filter Cut off frequency. With clockwise movement there will be an increasing amount of modulation. The filter will be opened more as higher notes are played on the keyboard. This control is used to define how the timbre of a sound changes over the keyboard. At the fully clockwise position, the filter tracks the pitch changes in a 1 to 1 ratio. This means that with RESONANCE set to a high level, the pitch of the Filters self - oscillation will increase in semitone steps as notes are played on the keyboard. This effect is akin to adding an extra (Sine Wave) Oscillator to the sound when notes are played on the keyboard.
resonance mod env depth

Filter

frequency

LFO 2 DEPTH Knob Controls the amount of change to the filter Cut off (set by the FREQUENCY knob) by LFO 2. In its central position there is no change to the filter Cut off frequency. Adjusting the knob anticlockwise from centre will introduce an increasing amount of negative modulation. The Filter will close and open in time with LFO2 (this creates the popular wow wow effect of LFO2 wavefrom is set to Triangle). Adjusting the knob clockwise from centre will introduce an increasing amount of positive modulation. The filter will open and close in time with LFO 2. NOTE : An external audio signal such as a microphone, guitar or CD player may be processed by the filter and effects. Refer to Page 36 in the Advanced Features Chapter for more details on setting up this feature. More functions associated with the Filter can be found in the Filter Menu. See Page 25.

12 dB 24 dB

slope

key track

lfo2 depth

FREQUENCY Knob This controls the basic Cut off frequency of the filter. Set fully clockwise, the filter is wide open allowing all frequencies (harmonics) produced by the Oscillators to sound. As the knob is turned anticlockwise, the filter closes, cutting out harmonics, starting with the highest, then increasingly lower ones until only the fundamental or nothing at all is allowed to sound (fully anticlockwise). If there is silence when the VOLUME knob is turned up, it is most likely that the Filter is fully closed. Turn the Frequency knob clockwise to open the filter. RESONANCE Knob This knob controls the Resonance of the Filter. The control will boost frequencies at the Cut off frequency. On on some synthesizers, this control is known as Emphasis since it will emphasize certain frequencies. At the zero position there is no effect. Turning clockwise slowly introduces the emphasis. Set fully clockwise, the Filter will begin to self - oscillate, producing a new pitched element (similar to feedback on an electric guitar). Note : At least a small signal must be fed into the Filter in order for the resonance to take effect. It is not possible for the filter to self - oscillate if no signal at all is fed into it. If the K-Station produces a high pitched whistling sound, it is probably due to this knob is being adjusted too far clockwise. If this self-oscillating effect is not desired, keep the Resonance control away from the extreme clockwise setting. Increasing the Resonance is very good for bringing out modulation (movement or change) in the filter Cut off frequency, such as in Acid bass lines and other very edgy sounds. MOD ENV DEPTH Knob Controls the amount of change to the filter Cut off (set by the FREQUENCY knob) by the Modulation Envelope. In its central position there is no change to the filter Cut off frequency. Adjusting the knob anticlockwise from centre will introduce an increasing amount of negative modulation. The filter will close as the MOD ENV runs through its cycle. Adjusting the knob clockwise from centre will introduce an increasing amount of positive modulation. The filter will be opened by the MOD ENV. SLOPE Button Controls how drastically the frequencies above the Cut off point are removed from the sound. When the 12dB position is selected, the Cut off slope is gentle so higher harmonics are not attenuated (reduced in volume) as sharply as they are when the 24dB position is selected.

17

Main Features and Operation

LFO Section - Envelopes Section

LFO Section
There are two LFOs - Low Frequency Oscillators - available on the KStation. These produce regular electronic variations which are too low to be heard when converted into audio vibrations. They can be used to modify various elements of the sound, producing regular changes in pitch (vibrato), pulse width or filter Cut off.

Envelopes Section
AMP and MOD Envelopes The Envelopes are used to shape a sound throughout its duration. The AMP Envelope determines the volume of the sound with respect to its duration. The MOD Envelope may be used to control other sound elements of the synthesizer throughout the duration of the sound. It can control Oscillator Pulse Width, Filter frequency and Oscillator Pitch.

LFOs

Envelopes
Mod speed delay

attack
1 2 s/h

decay

sustain

release

Amp

lfo

waveform

SPEED Knob Controls the speed of the low frequency Oscillations. An LED directly below the knob indicates the speed. Faster speeds are set by turning the knob clockwise. These are suitable for vibrato and tremolo effects. Slower speeds are more appropriate for Pulse Width changes or special effects. DELAY Knob Controls how long after the note is struck the selected LFO begins to take effect. Fully anticlockwise and the selected LFO effect will begin immediately. Turning clockwise will cause the LFO effect to fade in. The time of the fade in is dependent on the knob position. This is used for delayed vibrato effects. LFO Select Button Selects which LFO the SPEED, DELAY and WAVEFORM controls relate to. Select position 1 for LFO 1 and 2 for LFO 2. WAVEFORM Button Selects the waveform shape for the selected LFO. TRI -Triangle waveform gives the smoothest continuous change in level to the LFO. When routed to pitch, it introduces vibrato or a siren effect dependent of its speed setting. When routed to Filter Cut off, a Wow Wow effect results. SAW - Sawtooth waveform generates a rising level which then jumps back up to zero level. Routed to the Filter Cut off, it produces a rhythmic pulse effect. Routing it to pitch produces siren type sounds. SQR - Square waveform changes level instantly from minimum to maximum. This waveform is useful for trills and computer game effects. S/H - Sample & Hold. At a regular interval (governed by the SPEED knob), the level of the LFO jumps to a new random level and stays there until the next jump. This creates a rhythmic effect particularly if routed to the Filter Cut off. Routing this to pitch gives a less musical result, but is useful for computer or machinery sound effects. Additional settings associated with the LFOs can be found within the LFOs Menu. See Page 25.

ATTACK Knob / Slider Sets how quickly the envelope rises to its maximum level when a note is struck. Fully anticlockwise and this rise time or slope is very fast, less than half a thousandth of a second (instantaneous to the ear) increasing exponentially to twenty seconds when fully clockwise. To shorten attack times, turn this control towards zero and to lengthen attack times, turn this control towards maximum. Note : When the attack time is set to Zero, the instantaneous rise time of the Envelope may produce audible clicks. This is not a faulty condition and may be useful for the creation of certain sounds (for example, key clicks on organ simulations). If this is undesirable, increase the Attack time until the clicks are inaudible. DECAY Knob / Slider Sets how quickly the envelope falls to a sustain level after the maximum level has been reached. Set to zero, this time is about one thousandth of a second (still instantaneous to the ear ) increasing exponentially to twenty seconds when set to maximum. To shorten decay times, move this control towards zero and to lengthen decay times move this control towards maximum. SUSTAIN Knob / Slider Sets the level at which the envelope remains following the Decay phase, only while a key is being held on a controller keyboard (or there is a MIDI Note On command present). When set to zero, the envelope will decay to zero without being interrupted. As the control is moved towards maximum, the sustain level increases until, when at maximum, the sustain level is at its maximum level. RELEASE Knob / Slider Sets how quickly the envelope falls from the sustain level to zero once the note has been released. When set to zero, this time is about one thousandth of a second (instantaneous to the ear) increasing exponentially to twenty seconds when set to maximum. To shorten release times, move this control towards zero and to lengthen release times, move this control towards maximum. Additional settings associated with the Envelopes can be found within the Envelopes Menu. See Page 26 - 27.

Main Features and Operation

18

Volume and Keyboard Octave Controls - Arpeggiator Section

Volume and Keyboard Octave Controls Arpeggiator Section
The K-Station includes an Arpeggiator which breaks down chords into single notes and plays them one at a time. For example, if a C triad chord is held, the notes C, E and G will play one by one in sequence. Which Arpeggiator pattern is used and how the sequence of notes are played is determined by settings of the functions located in the Arpeggiator Menu. See Page 38 in the Advanced Features chapter for more details on these.

volume octave

Arpeggiator

VOLUME Knob This control adjusts the overall output volume on both the Left and Right master audio outputs on the rear panel and the Headphone output also on the rear panel. Using a mixing desk as a comparison, this control can be thought of as the channel volume fader. Keyboard OCTAVE Buttons These buttons allow the K-Stations two octave keyboard to be shifted up or down by a whole octave. The entire MIDI note range of C-2 to G8 can be accessed. To return to a mid position where the A above middle C on the keyboard is 440Hz. Press BOTH the Up and Down Octave buttons simultaneously. Note : When set to the highest octave setting, the top notes on the keyboard beyond G8 will not trigger the K-Station or transmit MIDI Note messages because they will be outside of the note range defined by the MIDI specification. The Keyboard octave setting is memorized along with all of the other sound information when a Program is written to memory. TEMPO Knob This controls the speed at which the Arpeggiator plays back its notes. When turned fully anticlockwise, the Arpeggiator will step through a sequence at 64 beats per minute. Clockwise movement increases speed. The maximum speed available is 191 b.p.m. When the Global MIDI Clock Source value (see Page 35) is set to INT, this knob also controls the tempo of any synchronized Chorus, Delay, Panning or EQ effects. See Pages 28, 29-30, 31 & 32 for details on how to synchronise these. When MIDI Clock Source is set to EXT, the tempo of any synchronized Arpeggiator, Chorus, Delay, Panning or EQ will be controlled by the tempo of the external sequencer instead of the TEMPO knob which will have no effect on the speed. If this knob appears to have no effect on the tempo, the reason is probably due to MIDI Clock Source being set to EXT or that the external sequencer is currently stopped (stopped sequencers do not usually transmit MIDI Clock messages). ON / OFF Button This activates / deactivates the Arpeggiator. While the Arpeggiator is activated, the LED to the left of the button will be lit. Pressing and holding this ON/OFF button for longer than 1 second will cause the Arpeggiator to Latch . When latched, the Arpeggiator sequence will continue to play even after notes have been released. Once all notes on the keyboard have been released, the next chord to be played on the keyboard will clear the existing latch memory and only the newly played chord will be Arpeggiated.
tempo on/off

19

Main Features and Operation

Effects Section
Effects Section
The K-Station is equipped with seven different Effects which may be used simultaneously. These effects are saved as an integral part of a sound when writing it to memory. Adding Effects to a sound can dramatically enrich the overall sound texture. Some types of Effect are particularly useful in giving a sound a perceived position in threedimensional space. Adding such sounds to final mix of a piece of music gives a much greater sense of depth. Each type of Effect has several settings associated with it which give fine control over how the Effect interacts with a sound. These settings may be changed using the various Effects menus. See Page 28 in the Advanced Features section for more details. distorted sounds have a very gritty, dirty quality to them. This is especially effective when applied to aggressive lead sounds. The Distortion Effect also exaggerates any low-level harmonics present within the sound. Sounds using a level of RESONANCE in the Filter will especially benefit from added Distortion. Use the LEVEL knob to introduce the Distortion effect. EQ The EQ (short for Equalization) Effect provides a way of diminishing or emphasizing a specific frequency range within the final sound. It is in fact, a form of Filter similar to the one found in the K-Stations Filter section. It performs a similar function, but it cuts or boosts certain frequencies. The actual frequency range which will be cut or boosted is determined by the EQ Frequency Point (the EQ Frequency setting) which is set within the Effects Menu. See Page 31 in the Advanced Features chapter for details on how to set this. The amount of cut or boost applied will depend on the position of the Effects LEVEL knob. When set to the 12 oclock position, no cut or boost is applied. As the knob is turned anticlockwise from the 12 oclock position frequencies below the EQ Frequency point will be boosted and frequencies above the point will be attenuated. As the knob is turned clockwise from the 12 oclock position, frequencies above the EQ Frequency will be boosted and those below attenuated.

Effects
delay reverb chorus distortion EQ panning vocoder

select

level

Effects SELECT buttons These two buttons are used to select which of the seven Effects is currently being edited. The seven types of Effect available are : Delay This Effect simulates the echoes which would be heard when a sound is reflected off of a hard, flat surface such as stone wall. The K-Station actually incorporates a stereo version of this echoing effect. To visualize a stereo echo, imagine a sound being produced between two stone walls. The echoes of the sound would bounce off each wall in turn until the echoes eventually dies away. Use the LEVEL knob to introduce the Delay effect. Reverb The Reverb Effect simulates the acoustic properties of a room. In everyday life, the materials that a room is made of and its size determine how sound waves are reflected from the rooms walls. Consider as an example, how different a sound is when heard in bathroom with tiled walls. Singing in particular can be dramatically improved ! Chorus This is a swirling, stereo Effect, often useful for fattening up a sound, creating an impression that several synthesizers are being played in unison, rather than just one. This effect is actually achieved by slightly detuning the sound and adding it back to the original signal. A similar, related effect to Chorus is the Phaser. Phasers phase-shift certain frequencies of a sound and add them back to the original signal. This gives a sound passed through a Phaser, a distinctive swishing quality. At extreme settings, this can sound similar to jet plane passing overhead! In the Chorus Menu, it is possible to select whether the K-Stations Chorus Effect behaves as a standard Chorus or as a Phaser. Use the LEVEL knob to introduce the Chorus or Phaser effect. Distortion As its name suggests, the Distortion Effect distorts a sound signal. Imagine how a sound recorded onto tape sounds when it has been recorded with the record level far too high. Much loved by guitarists,
10hz 500hz 1Khz 5Khz 20Khz Volume Boost EQ Frequency Point EQ Frequency Point (50) (50) Unchanged Volume Level Unchanged Volume Level Volume Cut EQ Amount (-63) Volume Boost EQ Frequency Point EQ Frequency Point (50) Unchanged Volume Level Unchanged Volume Level Volume Cut

10hz

500hz

1Khz

5Khz

20Khz

EQ LEVEL set to -10

In the above example, The EQ Frequency point has been set to 50 and the EQ LEVEL set to -10. This has the effect of gently boosting the lower (bass) end of the frequency spectrum and cutting the higher (treble) frequecies.

EQ LEVEL set to +63

In this example, the EQ LEVEL has been set to its maximum possible positive setting of 63. This results in a dramatic boost in the higher (treble) frequencies and a reduction in lower (bass) frequencies. Panning The Panning effect dictates where in the stereo field a sound is placed when heard through stereo speakers or headphones. It is possible to position a sound hard to the left, hard to the right or anywhere in between. The Effects LEVEL knob positions the sound in the stereo field. When set fully counter-clockwise, the sound will only be heard on the lefthand side. At the full clockwise position, the sound will be heard only on the right-hand side. When set at the 12 oclock position, the sound is heard on both sides at an equal level.

Main Features and Operation

20

Effects Section - Display and Data Entry Section

Vocoder A Vocoder is a device which analyzes selected frequencies present in an audio signal (called a Modulator), and superimposes these frequencies onto another sound (called the Carrier). It actually does this by feeding the Modulator signal into a bank of band pass filters. Each of these filters (12 of them on the K-Station) covers a set band in the audio spectrum from low to high frequencies. In the K-Stations Vocoder, a Program (for example a string sound) is always used as the Carrier. It is routed to another complete set of 12 filters that have the same frequency band settings as the bank of filters used for the Modulator. Each of the outputs from the 12 band pass filters in the Modulator bank control the volume of each of filters in the Carrier bank. The final character of the vocoded sound will depend greatly upon the harmonics present in the Carrier Program. Programs very rich in harmonics (for example using Sawtooth Waves) will generally give the best results. Typically, the Modulator signal used by a Vocoder would be a human voice speaking into a microphone. This creates the distinctive robot or talky like sounds which have recently returned to popularity and are now being used more frequently in modern Pop and Dance music. Bear in mind however, that the Modulator signal need not be restricted to human speech. Other types of Modulator signal can be used (for example, an electric guitar or drums) and can often give quite unexpected and interesting results. Modulator audio signals such as from a microphone or CD should always be fed into the K-Stations AUDIO IN socket, located on the rear panel. The pitch of the final vocoded sound will depend on whatever pitch the Carrier (currently selected Program) is playing. Notes can either be played on the K-Stations keyboard or received via MIDI from an external keyboard or sequencer. These notes must be played simultaneously while the Modulator signal is present, otherwise the Vocoder effect will not appear to work. The Vocoder is activated and balanced by using the Effect LEVEL knob. When this knob is turned fully counter-clockwise, the Vocoder is disabled. As the knob is slowly turned clockwise from the full counterclockwise position, the Carrier signal will be heard. As the knob is moved towards the 12 oclock position, the Carrier signal will diminish and the fully vocoded sound will become more prominent. At the 12 oclock position, only the fully vocoded will be heard. The Carrier or Modulator signals will not be present. As the LEVEL knob is moved clockwise from the 12 oclock position, more of the raw Modulator signal will be introduced until at the fully clockwise position, only the Modulator signal will be present. More settings are available to help shape the final Vocoder Effect. These are detailed on Page 33 in the Advanced Features chapter. Note : If either of the Effect SELECT buttons are pressed while the Effects Menu is active in Menu Mode, the display will be updated to show settings relevant to the newly-selected Effect. Effects LEVEL knob This controls function depends upon the Effect currently selected for editing by the SELECT buttons. In most cases, it will control the Effects level, but there are exceptions. All possibilities are detailed in the table given below.
Effects Level Knob
Effect Selected Function
Delay Reverb Chorus Distortion EQ Panning Vocoder Delay Level Reverb Level Chorus Level Distortion Boost EQ Cut/Boost Stereo Pan Position Vocoder On/Balance

Display and Data Entry Section

page program data program

As well as containing the display, this section also contains controls, whose vary according to which mode the K-Station is currently in. For more information on modes, refer to the section Modes and Menus on Page 14. PAGE / PROGRAM Buttons While in Program Select Mode, these buttons may be used to advance / decrease the currently selected Program. If pressed and held down, the Programs will start advancing / decreasing in steps of ten Programs at a time. This is useful since on the K-Station, similar types of sound are spaced apart at ten Program intervals. While in Menu Mode, these buttons are used to move up and down through the various linked pages within the currently selected menu. DATA / PROGRAM Knob In Program Select Mode, this knob may be used to step forwards or backwards through the available sounds (programs). The interval used in stepping through the Programs is determined by how quickly the knob is turned. In Program Edit Mode, this knob may be used to adjust the value of any functions displayed on the screen. In Menu Mode, this knob is used to adjust the value of the function relevant to the currently selected Menu Page. Displaying a Program Edit When playing the K-Station it is useful to know whether the current selected sound has been modified in any way from the original program. If any changes have been made to the program, (a knob has been tweaked or a button has selected a different function) an asterisk will appear in the display soon after the tweak or button press has been made. It will appear immediately to the left of the Program number when in Program Mode.

Prog Number *123

If the change is reversed (the control returned to its position as defined by the original Program), the asterisk will disappear.

Prog Number 123

Display
Delay Send Reverb Send Chrous Send Distortion Equalisation Pan Position Vocoder Bal

Value
0...127 0...127 0...127 0...127 -64...63 -64...63 0...127

21

Main Features and Operation

Mode and Keypad Section

Original Values of settings When adjusting a control it is useful to know how far away it is from the original value set by the program. Suppose the FILTER FREQ KNOB is fully clockwise (physically pointing to the 5 oclock position) indicating a fully open setting (127). If the filter setting of the Program being listened to is at the 2 oclock position (say 101). A slight movement of the the knob will result in the sound pinging to a brighter sound. This is because the filter frequency will jump to a maximum (127) represented by the knobs current physical 5 oclock position. In order to home in on the original program value, a vertical slider bar with a top and bottom arrow will move up and down the display.

Mode and Keypad Section

This section contains buttons associated with Mode selection, writing Programs to memory, comparing Programs in memory against edited Programs and selecting Programs directly by three-digit entry. PROGRAM Button Pressing this button places the K-Station immediately into Program Select Mode. While in this mode, a new Program may be selected by using either the PAGE / PROGRAM buttons, the DATA / PROGRAM knob or by typing in a three digit entry by using the 0 - 9 Keypad / Menu Select buttons. As soon as this button is pressed, Program Edit Mode or Menu Mode is cancelled. MENUS Button Pressing this button selects Menu Mode. In Menu Mode, the LED located above the MENUS button will light. If the K-Station was already in Menu Mode when the button was pressed, Menu Mode will be cancelled and the K-Station will return to Program Select Mode. Program Select Mode may be also be selected at any time by pressing the PROGRAM button As soon as Menu Mode is entered, the display will either show the first Page of whatever Menu was accessed last time or the last selected page of the previously accessed Menu. (This depends on the setting of the Global function New Menu Always Page 1 - See page 36). It is possible to immediately select a new Menu by pressing the appropriate 0 - 9 Keypad / Menu Select button. Note : If an Effects Menu is currently being displayed, selecting a different Effect for editing (by pressing the Effects SELECT buttons located within the Effects Section), will result in the display showing settings relevant to the newly-selected Effect. COMPARE Button While this button is held down, the K-Station will recall the currently selected Program from its memory location, temporarily losing any edits you have made to the sound since it was originally selected. Releasing the button restores the edit-buffer, bringing back any changes made to the sound since it was originally selected. This feature is useful when it is desired to check the original contents of the current Programs memory location before over-writing it with the currently edited sound. WRITE Button Pressing this button starts the procedure for saving Programs into memory. This procedure is detailed in the section Saving a Sound on Page 4. If however, this button is pressed while the Global Menu is currently active in Menu Mode, instead of saving the currently edited Program, the current settings of all Global settings will be saved into memory. (The display will briefly show GLOBALS SAVED)The next time the KStation is switched on, these values will be remembered. 0 - 9 Keypad / Menu Select Buttons While the K-Station is in Menu Mode, these buttons may be used to switch to a different Menu. At all other times, pressing one of these buttons will initiate Program Select Mode and the K-Station will wait for the remaining digits of a three-digit entry to be entered so that the appropriate Program may be selected from memory. For this reason, it is important to make sure that the K-Station is already placed into Menu Mode before using these buttons to select a different Menu.

Although not visible, the illustration above shows the vertical slider bar indicating that the knob is set too far above the Programs original value

In the real display, only tiny dot is visible next to the numeric value indicating that the knob must be turned anticlockwise to get nearer the Programs original value.

Rotating the knob anticlockwise shows the slider bar approaching the original value.

A further rotation of the knob locates the original value. This is indicated by slider moving down to cover the whole character next to the numeric value. The effect is that it is completely white. Experiment with the controls and notice how the slider homes in on the original value.

ode and Keypad Section

Main Features and Operation

22

The Oscillator Menu

This chapter details the many advanced features available on the KStation. Most of these are found in the various Menus available when the K-Station is placed into Menu Mode. See page 14 for details on selecting Menu Mode. Each of the various Menus available will now be discussed in detail. notes to a maximum of 8 will result in very dense sounding textures. Note: As more voices are assigned to Unison, the available polyphony will reduce accordingly. For example, using 8 voices in Unison mode will result in just one note of polyphony being available! Unison Detune (Menu Page 3) Unison Detune is used in conjunction with Unison Voices as described above. When using more than one voice per note, the Unison detune amount sets how much each voice is detuned relative to the others. Adjust the amount until the desired effect is heard. VCO Drift (Menu Page 4) Controls the amount of tuning drift for the Oscillators. Setting a modest value, 10 for example will cause each Oscillator to slowly drift fractionally out of tune. Classic Analogue Synthesizers were known to gradually go out of tune as the internal circuits heated up. This instability actually helped to give them their own unique character! Preglide Semitones (Menu Page 5) A Preglide is applied to the pitch of the Oscillators starting at a pitch determined by the Preglide amount in semitones. Gliding up from a pitch occurs when the display indicates between -12 to -1, and gliding down from a pitch occurs when the display indicates between 1 to 12. At a setting of 0, no preglide is applied. The time it takes to complete the Glide is determined by the PORTAMENTO knob on the front panel. The Preglide is triggered with every note received. Portamento Mode (Menu Page 6) Voice Mode (Menu Page 1) This setting determines if the Program plays polyphonically or monophonically.
Voice Mode
MONO MONO AG POLY 1 POLY 2 Mono No Auto Glide Mono with Autoglide Normal Poly Mode Poly - no note layering

The Oscillator Menu

To complement the front panel controls in the Oscillator section, there are many other functions located in the Oscillators Menu. This Menu is selected by pressing the keypad 1 button when the K-Station is in Menu Mode. Use the PAGE up/down buttons to scroll through the Menu functions available - See table below.
Oscillator Menu
Page Function
1 2 3 4 5 6 7 8 9 10 Voice Mode Unison Voices Unison Detune VCO Drift Preglide Semitones Portamento Mode Start Phase Osc 1 -2 Sync Osc 2 - 3 FM Manual Level Osc 2 - 3 FM Env Amt

Display
OSC Mode OSC Unison OSC UniDtune OSC VcoDrift OSC Preglide OSC Porta OSC Start Ph OSC 12 Sync OSC 23FM Lev OSC 23FM Env

Value
MONOPOLY 2 OFF8 0127 0127 -1212 EXP-LIN OFF14 OFF-ON 0127 -6463

Determines the type of curve applied when PORTAMENTO is used. Two types of curve are available, Exponential and Linear. Linear Portamento sweeps through note intervals at a constant rate. When Exponential Portamento is used, the rate of sweep decreases throughout the note sweeps duration. Start Phase (Menu Page 7) When synthesizing percussive or plucked type sounds, there is a lot of detailed waveform information at the beginning of the sound. It is often useful to have the Oscillator wave start in exactly the same place every time a key is pressed. The start phase option allows the precise starting point of the Oscillator wave to be determined. At a setting of 0, the wave will start at zero Degrees. Each increment on the display shifts the start point of the wave approximately 24 degrees. The wave will start at a random phase when set to OFF. Osc 1 - 2 Sync (Menu Page 8) This function provides a way of producing interesting, piercing, metallic sounds. It does this by using the frequency of Oscillator 1 to periodically restart the waveform used by Oscillator 2. This technique is known as Oscillator Sync. Set this to ON to activate Sync. It should be remembered that the frequency of a waveform corresponds to the number of waveform peaks (cycles) over a given period of time. The frequency also determines the Oscillators pitch. Therefore if Oscillators 1 and 2 are detuned from each other, Oscillator 2s waveform will be periodically interrupted and started again from the beginning of the waveform cycle every time Oscillator 1s waveform begins a new cycle. The following diagram illustrates this.

When set to MONO or MONO AG, the Program plays monophonically (ie only one note can be sounded at any one time). If a chord is played on the keyboard, it will be noticed that as each individual note is released, the note sounding will revert back to the nearest played note. The MONO AG setting enables Auto glide (portamento) to be triggered whenever a note is played on the keyboard before the previously held down note has been released (legato playing). Using Auto glide in this way can greatly add expressiveness to a Program. It is especially effective when applied to lead type sounds. The monophonic settings are often useful when replicating sounds in the real world which would normally be played monophonically, for example a bass guitar. As their name implies, the POLY 1 and POLY 2 settings allow polyphonic operation. POLY1 allows successive playing of the same note(s) to be stacked together, gradually producing a louder sound texture as the note(s) are repeatedly played. With POLY2, if the same note(s) are played repeatedly, they will use the same synthesizer voices as used previously, thus avoiding the stacked note effect. Unison Voices (Menu Page 2) Unison allows more than one voice to be used for each note played on the keyboard. This effect is useful when a very thick sound is required. The K-Station allows up to eight voices to sound layered one on top of another when just a single note is played. To listen to the effect, select Page 2 in the Oscillator Menu, turn the DATA knob clockwise until the display shows 2. Play a note and listen to the sound. It will become thicker sounding. Increasing the number of

Oscillator 1

Oscillator 2

Synced waveform

23

Advanced Features

The Oscillator Menu (FM Synthesis)

It can be seen that the resulting synced waveform has subsequently been modified into a different shape. Altering a waveforms shape in this way introduces new harmonics into the sound which gives the resulting waveform its distinctive synced sound qualities. It should be realised that the greater the difference in tuning between the Oscillator waveforms, the more pronounced the sync effect will become, since more drastic changes will be made to the final synced waveform. Changing the pitch of one of the Oscillators during the duration of a note (for example, modulated by an LFO) will add a dynamic quality to the synced sound. FM Synthesis. The next two menu options allow sounds based on FM (Frequency Modulation) synthesis to be created. Before looking at the operations of these controls, a little explanation of FM synthesis follows. Earlier in this manual, the basics of subtractive synthesis were introduced. Terms such as harmonics, timbre, waveforms and oscillators became familiar. FM Synthesis is the technique of using one waveform to Frequency Modulate - FM- another to produce a resultant more harmonically complex waveform. The following diagram illustrates that the higher the modulation between the Modulating wave and the Carrier wave, the more the waveform changes.
Modulator Oscillator osc 1- modulator Modulation Level = 0 0 modulation level =
osc 3- carrier Carrier Oscillator

The complete FM building block is illustrated below.

Modulator modulator

Envelope used env - used to to control FM control FM Modulation modulation amount amount
carrier Carrier

Envelopeamplitude used control to of sound over control Amplitude time

env - used to

OSC 2 is able to FM OSC 3 via a dedicated FM envelope. It is important that it is realized that this Envelope is used only for FM purposes and is not one of the Envelopes available on the K-Stations front panel. The diagram below shows in block diagram format how the K-Station can produce FM sounds.
OSC 2 2 Osc

FM Envelope FM Env
Operator 1

= = 30 30

= = 90 90

OSCOsc 3 3

Amp Env AMP Envelope

output waveform Output Waveform

Operator 2

In the illustration, the Oscillators are producing Sine waves. It is the change in harmonics over time that makes a sound interesting to our ears. In FM synthesis, an envelope generator is inserted between the modulator and carrier waveforms so that there is control over of how much of the frequency modulation is taking place with respect to time. Adding this envelope constructs the basic FM building block as illustrated below.
Modulator
osc 1- modulator

The easiest way to be totally familiar with FM is to take one of the factory preset FM sounds, for example Bank 2 - 09 (Sound 209), a bell sound and to experiment by modifying the various FM settings. OSC 2 - 3 FM Manual Level (Menu Page 9) Controls the amount that Oscillator 3 is directly Frequency Modulated by Oscillator 2. Whilst playing a note, adjust this value by using the DATA knob. Notice that increasing amounts of modulation level make the sound more metallic. OSC 2 - 3 FM Envelope Amount (Menu Page 10)

envelope modulation Envelope 20 level = Modulation = 20

Many sounds have complex harmonic movements at the start of the sound. Introducing envelope modulation from an envelope with a fast attack and decay time to control the FM amount will simulate this fast changing harmonic effect. Adjust this value by using the DATA knob. Notice how the spit at the beginning of the sound may be accentuated. Experiment with Oscillator 2s pitch using the OCTAVE button and the SEMITONE and DETUNE knobs. Adjusting the FM Envelope Attack and Decay Times Changing the various FM Envelope values is done from within the Envelopes Menu. See Page 27 for details.

Carrier 3- carrier osc

Output Waveform output waveform

It can be seen that the output waveform begins, being identical to the carrier, but becomes more complex (harmonics are added) as the amount of FM modulation increases via the envelope. It then returns to a simple wave again as the envelope decays. The timbre of the Waveform is changing with time. This is the opposite of subtractive synthesis where a low pass Filter is used to remove harmonics. To complete a simple synthesizer, a further envelope is added to control the output volume.

Advanced Features

24

The Filter Menu - The LFOs Menu

The Filter Menu
To complement the front panel controls in the Filter section, there are other functions located within the Filter Menu. This is selected by pressing the keypad 2 button while the K-Station is in Menu Mode. Use the PAGE up/down buttons to scroll through the Menu functions available - See table below.
Filter Menu
Page Function
1 2 Q Normalise Overdrive

The LFOs Menu

To complement the front panel controls in the LFO section, there are many other functions located within the LFOs Menu. This is selected by pressing the keypad 3 button while the K-Station is in Menu Mode. Use the PAGE up/down buttons to scroll through the Menu functions available - See table below.
LFO Menu
Page Function
1 2 3 4 5 6 7 8 9 10 LFO1 Delay Triggering LFO1 Keysync LFO1 Keysync Phase Offset LFO1 Common to all Voices* LFO1 Sync Rate LFO2 Delay Triggering LFO2 Keysync LFO2 Keysync Phase Offset LFO2 Common to all Voices* LFO2 Sync Rate

Display
FILT Q Norm FILT Drive

Value
0127 0127

Display
LFO1 DelTrig LFO1 Keysync LFO1 Ksync PhO LFO1 Common LFO1 Sync LFO2 DelTrig LFO2 Keysync LFO2 Ksync PhO LFO2 Common LFO2 Sync

Value
SGL-MLT OFF-ON OFF-ON OFF-ON OFF12bars SGL-MLT OFF-ON OFF-ON OFF-ON OFF12bars

Q Normalise (Menu Page 1) This value controls the Resonance Normalise. At zero, when resonance is applied, the main audio signal will remain at normal levels. Adjusting clockwise will reduce the signal level in relation to the resonance level. This feature enables the Filter to emulate many of the classic Filters such as the Moog type, Oberheim type and Roland TB303* type. Overdrive (Menu Page 2) This value of this function controls how much the filter is overdriven. When used in large amounts it will have the effect of making the sound richer and slightly distorted.

* When common, keysync becomes global sync

LFO Delay Triggering (Menu Pages 1 & 6) When the Voice mode is set to any of the Mono options (see Page 23), different LFO delay settings are available for legato playing styles (notes overlapping). When the first note of a musical phrase is played, it might be desirable to have an initial delay on the LFO. (If the LFO is routed to pitch modulation, a vibrato effect would be introduced after the delay time). For the remaining legato notes, a non interrupted vibrato might be required. Setting this to SGL (single) achieves this. Setting this to MLT (Multi) sets the LFO delay to apply to every note played. LFO Keysync (Menu Pages 2 & 7) Each LFO waveform may be restarted every time a key is pressed. For example, if a siren type sound effect was required, an LFO using a sawtooth wave would be set to positively modulate pitch. Each time a new key is pressed, the pitch would climb from the same point (because the LFO waveform would be restarted) rather than being at an undetermined pitch position. Note : If the LFO Common To All Voices function (detailed below) is set to ON for the LFO, altering this value will have no effect. How a keysync is applied to the LFO is determined by the changing the Global Sync Mode settings (found in the Global Menu). See Page 35 in the Advanced Features chapter for details. LFO Keysync Phase Offset (Menu Pages 3 & 8) This setting provides an alternative point in the LFOs waveform cycle where the waveform will be restarted from when LFO Keysync is set to ON. To hear the difference, set a slow LFO to modulate Oscillator pitch modulation and experiment with different LFO waveforms and LFO Keysync Phase Offset settings. LFO Common To All Voices (Menu Pages 4 & 9) Each of the eight voices have two LFOs - sixteen in total. The eight LFOs designated LFO 1 (one per voice) may be phase locked together and similarly the eight LFOs designated LFO 2 may be locked. To illustrate this, assume the LFO waveform is a triangle wave and at a specific moment in time all eight are at the beginning of a the rising portion of the wave. At a later point in time all will be at the beginning of the falling portion of the wave. If this waveform is applied to pitch, when a number of notes are played simultaneously, the pitch of all the notes will rise and fall at precisely the same time. If the LFO is not locked, then each wave will be at a random position relative to the others. In this pitch modulation example, the pitch of all the notes will be changing out of synchronization with others.

25

Advanced Features

The LFOs Menu - The Envelopes Menu

Imagine a String section of eight violin players. With the LFO locked and the LFO being used to create a vibrato, all eight of the string players would have the bow in exactly the same position. This obviously does not occur in a real string section and if it did the sound would be very unusual. In reality, each players bow would be in a different position which gives the strings a chorus type sound. To simulate the string section the LFOs would not be locked. Setting this to ON will lock the LFO. Note : When LFO Common To All Voices is set to ON, changing the setting of the LFO Keysync function will have no effect. Instead, how a keysync is applied to the LFO is determined by the setting of the Global Sync Mode value (found in the Global Menu). See Page 35 in the Advanced Features chapter for details. LFO Sync Rate (Menu Pages 5 & 10) Both LFOs may be synchronized to MIDI Clock. As an example, a very pleasing audio effect may be achieved when an LFO is modulating the filter cut off frequency and this is synchronized to the tempo of a musical piece. To synchronize an LFO, alter this value until the desired musical timing is displayed. See the synchronization table below for details on how these settings relate to the MIDI Clock.

The Envelopes Menu

To complement the front panel controls in the Envelopes section, there are many other functions located in the Envelopes Menu. This is selected by pressing the keypad 4 button when the K-Station is in Menu Mode. Use the PAGE up/down buttons to scroll through the Menu functions available - See table below.
Envelope Menu
Page Function
1 2 3 4 5 6 7 8 9 10 11 Program Level dB Velocity to Amp Env Level Velocity to Mod Env Level Velocity to FM Env Level Amp Envelope Triggering Mod Envelope Triggering FM Envelope Triggering FM Env Attack FM Env Decay Audio Input Triggering External Audio to Effects

Display
PROG Level ENV Amp Vel ENV Mod Vel ENV FM Vel ENV Amp Trig ENV Mod Trig ENV FM Trig ENV FM Attak ENV FM Decay ENV Aud Trig ENV In to FX

Value -1212
-64...63 -64...63 -64...63 SGL-MLT SGL-MLT SGL-MLT 0127 0127 OFF-ON OFF-ON

Program Level dB (Menu Page 1) The value of this function adjusts the program output level. This is used to maintain a consistent volume level, avoiding distortion throughout all sound Programs. Delicate sounds (such as those which use just one Oscillator and closed filter settings) can be increased in volume using this control. Conversely, sounds that use all Oscillators and high polyphony (6 to 8 notes played at once), can be reduced in volume to avoid distortion. Using a mixing desk as a comparison, this control can be thought of as the gain or trim control for the channel. If a sound appears to be distorting unintentionally, especially when complex chords are being played, reduce the value of this setting. Velocity To Env Level (Menu Pages 2, 3 & 4) These functions determine how the Amp, Mod and FM Envelopes respond to Velocity information. Setting up a sound to make its volume respond to velocity Select the second Page in the Envelopes Menu (ENV Amp Vel). Adjust the DATA knob. At a setting of zero, a soft key stroke will produce a sound at the same volume as a hard key stroke. At a maximum positive value (63) soft key strokes will be much quieter than hard key strokes. At a maximum negative value (-64), soft key strokes will be much louder than hard key strokes. Setting up a sound to make its brightness or pitch respond to velocity Select the third Page in the Envelopes Menu (ENV Mod Vel). Adjust the DATA knob.Turn the Filter FREQUENCY knob to a near zero setting or until the sound almost disappears. Turn the MOD ENV DEPTH knob in the Filter section to a maximum clockwise position. In the Envelopes section, Set the MOD ENV ATTACK and SUSTAIN knob to zero and the DECAY knob to nearly full. While playing notes on the Keyboard, adjust the DATA knob. At a setting of zero there will be no effect on the brightness of the sound. At maximum positive value (63), soft key strokes will produce a tone much softer than hard key strokes. At a maximum negative value (-64), soft key strokes will produce a tone much brighter sound than hard key strokes.To affect the pitch, adjust the MOD ENV knob in the Oscillator section. Adjusting the Velocity Response of the FM Envelope Select a factory preset FM sound (such as 209). Select the fourth page in the Envelopes Menu (FM Env modulation). Adjust the DATA knob. Notice how the FM effect at the start of the sound becomes dependent on how hard the keys are struck.

LFO's Synchronisation to MIDI Clock table

Display MIDI Clocks OFF 32nd T 2 32nd 3 16th T 4 16th 6 8th T 8 16th D 9 8th 12 4th T 16 8th D 18 4th 24 2nd T 32 4th D 36 2nd 48 1bar T 64 2nd D 72 1 bar 96 2bar T 128 Synchronised to Manual Rate 32nd Triplet 32nd 16th Triplet 16th 8th Triplet 16th Dotted 8th 4th Triplet 8th Dotted 4th 2nd Triplet 4th Dotted 2nd 1 Bar Triplet 2nd Dotted 1 Bar 2 Bar Triplet Display MIDI Clocks Synchronised to 1bar D 2 bars 4bar T 3 bars 5bar T 4 bars 3bar D 7bar T 5 bars 8bar T 6 bars 7 bars 5bar D 8 bars 9 bars 7bar D 12bars 144 192 256 288 320 384 432 448 480 512 576 672 720 768 864 1008 1152 1.5 Bars 2 Bars 4 Bar Triplet 3 Bars 5 Bar Triplet 4 Bars 4.5 Bars 7 Bar Triplet 5 Bars 8 Bar Triplet 6 Bars 7 Bars 7.5 Bars 8 Bars 9 Bars 10.5 Bars 12 Bars

Be aware that if an LFO is synchronized to the MIDI Clock, the front panel LFO SPEED knob will have no effect on the LFO speed. The actual speed of the LFO will be determined instead by the tempo of the MIDI Clock signals being transmitted by a sequencer. Many sequencers do not transmit MIDI Clock messages at all when they are stopped. Setting this function to OFF allows the LFO to run at its own speed, which can be controlled by setting the LFO SPEED knob, found on the K-Stations front panel

Advanced Features

26

The Envelopes Menu

Envelope Triggering (Menu Pages 5, 6 & 7) These functions only apply to a sound which has been set up to behave in a monophonic manner (see Voice Mode on Page 23). When the Voice mode is set to any of the Mono options, different envelope triggering options are available for legato playing styles (notes overlapping). When the first note of a musical phrase is played, it might be desirable to have both the Amp and Mod envelopes trigger. For the remaining legato notes,just the Mod envelope re-triggering would create the effect of the phrase becoming quieter and quieter. When these are set to SGL (single), the appropriate Envelope will only be triggered when the first keyboard note is played. Any subsequent legato style key presses will not re-trigger the Envelope. When set to MLT (multi), the appropriate Envelope will always re-trigger on each key press, regardless of the playing style used. FM Env Attack (Menu Page 8) When FM synthesis is being used (see Page 24), this value determines the FM Envelopes Attack time. Note : The FM Envelope is used only for FM synthesis and should not be confused with the Amp or Mod Envelopes available on the KStations front panel. FM Env Decay (Menu Page 9) When FM synthesis is being used (see Page 24), this value determines the FM Envelopes Decay time. Note : The FM Envelope is used only for FM synthesis and should not be confused with the Amp or Mod Envelopes available on the KStations front panel. Audio Input Triggering (Menu Page 10) The K-Station is capable of processing an external audio signal through its Filter and / or Effects section. However, it should be remembered that the Amplifier is controlled by the AMP ENVELOPE controls on the front panel. Unless the Amplifier has been triggered (usually by playing notes on the keyboard or from a sequencer), the Amplifier will be set at a zero volume level and no audio signal will be passed through it. This is not a problem when the external audio signal is to be passed solely through the Effects Section (since the Effects come after the Amplifier in the K-Stations audio signal path). However, if it desired to process the external audio signal through the K-Stations Filter, it is often convenient to be able to automatically trigger the Amplifier and Mod envelopes whenever an external audio signal is present. Setting this function to ON automatically triggers the Amp and Mod Envelopes (thus opening up the Amplifier) whenever the external audio signal strength reaches a certain threshold level. This feature ensures that it is not necessary to play the K-Station from its keyboard or a sequencer in order to hear the external audio signal processed through the Filter. The setting of the threshold level (sensitivity to external audio strength) is done by adjusting the Input Trigger Sensitivity value found within the Global Menu. See Page 36 for details. When the Envelopes are auto-triggered in this way, the K-Station actually plays a default note of Middle C. If the Mixer levels of any of the three Oscillators are set above zero, a pitched element to the sound will be heard (pitched at Middle C) whenever the Amp Envelope is auto-triggered. To remove this, make sure each of the Oscillator Mix levels in the Mixer Section are set to zero. See Page 35 for more details of using external audio signals with the K-Station. External Audio To Effects (Menu Page 11) This function determines where the external audio signal is fed into the K-Stations audio signal path. There are two possibilities. 1. Feeding External Audio Directly To The Effects The external audio signal may be fed directly to the K-Stations Effects section, bypassing the Mixer, Filter and Envelopes. Once the input sensitivity has been set for the input device (see Page 36) turn the the DATA knob until the display shows ON. The external signal should now be heard at the outputs. It may now be processed by all of the various effects including the EQ Filter. 2. Feeding External Audio Through The Filter Setting this function to OFF, feeds the external audio signal into the KStations Mixer and Filter section. In order to hear the filtered signal, repeatedly press the SOURCE button in the Mixer section until the EXT INPUT LED lights and turn up the LEVEL knob. The K-Stations Amplifier also needs to be triggered by the Amp Envelope. This is done either by playing a note on the K-Stations keyboard, playing in a MIDI note message from a sequencer, or setting the Amp Envelope to autotrigger when an external audio signal is present. See the function Audio Input Triggering described above for details on how to do this. Once an external audio signal has passed through the K-Stations Filter, it can still be processed by the Effects section in the same manner as any other audio source (Oscillator waveforms etc.). See Page 36 for more details of using external audio signals with the K-Station.

27

Advanced Features

The Effects Menus - The Delay Menu

The Effects Menus
To complement the front panel controls in the Effects section, there are many other functions located within the Effects Menus. These are selected by pressing the keypad 5 button when the K-Station is in Menu Mode. The Effects Menus comprise of seven separate sub-Menus (one for each different type of effect available on the K-Station). The actual subMenu accessed will be determined by whichever Effect type is currently selected by the SELECT buttons within the Effects Section.

Delay Synchronisation to MIDI Clock table

Display OFF 32nd T 32nd 16th T 16th 8th T 16th D 8th 4th T 8th D 4th 2nd T 4th D 2nd 1bar T MIDI Clocks 2 3 4 6 8 9 12 16 18 24 32 36 48 64 Synchronised to Manual Rate 32nd Triplet 32nd 16th Triplet 16th 8th Triplet 16th Dotted 8th 4th Triplet 8th Dotted 4th 2nd Triplet 4th Dotted 2nd 1 Bar Triplet

Effects
delay reverb chorus distortion EQ panning vocoder

select

level

When a sync interval is selected, the tempo of the Delay is controlled by the Arpeggiators TEMPO knob when MIDI Clock Source is set to INT, or by the external sequencers tempo when MIDI Clock Source is set to EXT. See Page 35 for setting the Global MIDI Clock Source from INT to EXT or vice versa When controlling the Delay Sync Time from a sequencer, it is important to ensure that the sequencer is transmitting MIDI Clock messages. Consult the sequencer manual for details. Note : When the Sync Time function is set to OFF, the timing of the delay repeats will be controlled by the setting of the Time function (Menu Page 4). Any incoming MIDI clock messages or Arpeggiator TEMPO settings will be ignored by the Delay effect. Stereo Width (Menu Page 4) This sets the Stereo spread between the long and short Delay times. With a width setting of zero, both delays appear in the middle of the stereo field (Mono). At maximum width setting, the longer delay will appear on one output and the shorter on the other, producing a dramatic stereo effect. Left / Right Time Ratio (Menu Page 5)
Delay Ratios
Left/Right 1/1 4/3 3/4 3/2 2/3 2/1 1/2 3/1 1/3 4/1 1/4 1/OFF OFF/1

In an Effect sub-Menu, it is also possible at any time, to switch instantly to a new sub-Menu relating to a different effect, simply by selecting the effect using the Effects SELECT buttons.

The Delay Menu

The comprehensive Delay effects processor has many programmable functions. These may be edited to create the desired delay effect for a particular sound and saved along with the sound. Use the PAGE up/down buttons to scroll through the Menu functions available - See table below.

Delay Menu
Page Function
1 2 3 4 5 6 Time Feedback Sync Time Stereo Width Left/Right Time Ratio Wheel Level

Display
DEL Time DEL Feedback DEL Sync DEL St Width DEL L/R Ratio DEL Wheel

Value
0...127 0...127 OFF2 bars 0127 1/1O/1 -64...63

Automatically adjusts the ratio of the longest delay time and the shorter delay time into timings that are musically useful. Use the DATA knob to select the most suitable ratio. A Simple, equal 1 to 1 ratio is the first entry in the table. This setting sends a delay of equal time to the left and right output channels. The number in the left column of the table indicates the ratio of the delay time that will be in the left channel versus the number in the right column.

Time (Menu Page 1) Controls the amount of time it takes for the delayed signal to be heard after the original signal. Feedback (Menu Page 2) Controls how much of the delayed signal is fed back into the delay input. No feedback produces a slapback echo effect, just one delayed sound with no repeats. Small amounts of feedback produce repeated sounds resulting in a multiple echo effect. Large amounts of feedback produces infinite echoes. Sync Time (Menu Page 3) Enables the time of the Delay repeats to be synchronized to the tempo of a song. The following table gives the range of synchronization values available.

For example, if a delay of twice the time is required in the left channel compared to the right, select the 2/1 option. The final 1/OFF and OFF/1 options will result in no delay being heard in the channel indicated by the OFF. Note: Selecting a 1/1 ratio will produce a mono effect regardless of the Stereo width setting since the timing of the echos are equal. Wheel Level (Menu Page 6) Sets how much the movement of the K-Stations Modulation wheel will introduce the delay effect.

Advanced Features

28

The Reverb Menu - The Chorus Menu

The Reverb Menu
The Reverb Effect is an electronic simulation of a room or building that is acoustically reflective. When a sound is made in a room or large building, there are sound reflections from all directions. When a Reverb effect is applied, it is these reflections of the sound that are being added. Use the PAGE up/down buttons to scroll through the Menu functions available - See table below.

The Chorus Menu

This effect was originally designed to simulate the sound of many people singing together (hence the name Chorus) in contrast to a single voice. Instrumentally, consider the sound of a 12 string guitar compared to a 6 string guitar. The very slight detuning of the individual strings actually gives a richer quality to the sound. Chorus is an effect produced by mixing a continuously delayed version of the audio signal back with the original. The timing of the delayed version is very small and is controlled by the Choruss own internal LFO (not to be confused with the two LFOs available on the K-Stations front panel). The characteristic swirling Chorus effect is the result. The K-Stations Chorus is also capable of behaving as a Phaser. The way a Phaser works is in fact entirely different to the Chorus. A portion of the audio signal is split off and phase shifted at certain frequencies. It is then mixed back with the original signal to generate the characteristic swishing effect. The functions available in the Chorus Menu are :

Reverb Menu
Page Function
1 2 3 Type Decay Time Wheel Level

Display
REV Type REV Decay REV Wheel

Value
CHAMBERG HALL 0127 -64...63

Type (Menu Page 1) Different types of rooms and halls have different acoustics, therefore different Reverb characteristics. The K-Stations Reverb processor features six different Reverb types. These range from a small room to a large hall.
Reverb Types CHAMBER Echo Chamber S ROOM Small Room L ROOM Large Room S HALL Small Hall L HALL Large Hall G HALL Grand Hall

Chorus Menu
Page Function
1 2 3 4 5 6 7 8 Type Rate Sync Rate Mod Depth Mod Centre Feedback LFO Sync Initial Position Wheel Level

Display
CHOR Type CHOR Rate CHOR Sync CHOR Mod Dep CHOR Centre CHOR Feedbak CHOR Init Pos CHOR Wheel

Value
CHORUS-PHASER 0127 OFF12bars 0127 -64...63 -6463 OFFRGT -64...63

Type (Menu Page 1) Determines whether the K-Stations Chorus is behaving as a standard Chorus or as a Phaser. Rate (Menu Page 2) Controls how fast the dedicated Chorus LFO is oscillating. A fairly slow speed is recommended. Higher speeds tend to introduce a vibrato like quality to the sound. Note : The dedicated Chorus LFO should not be confused with the two LFOs available on the K-Stations front panel. Sync Rate (Menu Page 3) Similar to Delay Sync, the Chorus internal LFO may be synchronized to internal or external MIDI clock tempo. The available Sync resolutions are :
Chorus Synchronisation to MIDI Clock table
Display MIDI Clocks OFF 32nd T 2 32nd 3 16th T 4 16th 6 8th T 8 16th D 9 8th 12 4th T 16 8th D 18 4th 24 2nd T 32 4th D 36 2nd 48 1bar T 64 2nd D 72 1 bar 96 2bar T 128 Synchronised to Manual Rate 32nd Triplet 32nd 16th Triplet 16th 8th Triplet 16th Dotted 8th 4th Triplet 8th Dotted 4th 2nd Triplet 4th Dotted 2nd 1 Bar Triplet 2nd Dotted 1 Bar 2 Bar Triplet Display MIDI Clocks Synchronised to 1bar D 2 bars 4bar T 3 bars 5bar T 4 bars 3bar D 7bar T 5 bars 8bar T 6 bars 7 bars 5bar D 8 bars 9 bars 7bar D 12bars 144 192 256 288 320 384 432 448 480 512 576 672 720 768 864 1008 1152 1.5 Bars 2 Bars 4 Bar Triplet 3 Bars 5 Bar Triplet 4 Bars 4.5 Bars 7 Bar Triplet 5 Bars 8 Bar Triplet 6 Bars 7 Bars 7.5 Bars 8 Bars 9 Bars 10.5 Bars 12 Bars

Turn the DATA knob to experiment with different types of Reverb, noting how different rooms affect the acoustic properties of the sound. Decay Time (Menu Page 2) This is the time it takes for the Reverb to die away after the original sound has decayed. Very acoustically reflective rooms (like those with metal or glass surfaces) tend to have long decay times and non reflective rooms have short ones. Wheel Level (Menu Page 3) Sets how much movement of the K-Stations Modulation wheel will introduce the Reverb effect.

When a sync interval is selected, the tempo of the Chorus LFO is controlled by the Arpeggiators TEMPO knob when MIDI Clock Source is set to INT, or by the external sequencers tempo when MIDI Clock Source is set to EXT. See Page 35 for information on how to change the Global MIDI Clock Source.

29

Advanced Features

The Chorus Menu - The Distortion Menu

When controlling the Chorus Sync Rate from a sequencer, it is important to ensure that the sequencer is transmitting MIDI Clock messages. Consult your sequencer manual for details. Note : When the Sync Rate is set to OFF, the timing of the Chorus sync will be controlled by the setting of the Rate. Any incoming MIDI clock messages or Arpeggiator TEMPO settings will be ignored by the Chorus effect. Mod Depth (Menu Page 4) The Chorus has it own LFO which is continuously changing the delay time. Mod Depth sets how much of the fixed delay time is being modulated. Large amounts of modulation will produce a more noticeable effect. Moderate amounts are recommended. Note : The dedicated Chorus LFO should not be confused with the two LFOs available on the K-Stations front panel. Mod Centre (Menu Page 5) The Stereo Chorus can actually be thought of as two continuously variable delays. The delay variations are being controlled by the Chorus dedicated LFO. The LFO is constantly moving the two delay amounts from minimum to maximum. When one delay is at max, the other is at min (hence the stereo effect). The Mod Centre function moves the middle point between the Min and Max values. Experiment with this control for the desired effect. Feedback (Menu Page 6) This function controls how much of the delayed signal is fed back to the input of the Chorus generator. The Chorus effect benefits from low levels of feedback. When acting as a Phaser (see the Chorus Type setting on Page 29), the effect often requires higher levels of feedback. LFO Sync Initial Position (Menu Page 7) As well as being able to synchronize to MIDI clock (tempo), the dedicated Chorus LFO may have its initial position set after a specific MIDI event is received (see the Global Sync Mode function on Page 35). The initial positions available are shown in the table above. For examChorus LFO Sync Initial Pos
OFF LFT MID RGT Off Left Centre Right

The Distortion Menu

Distortion is an effect commonly used by Guitar players. However, it is now increasingly used in the production of modern Dance music. The Distortion effect gives the sound a hard edged, distorted and dirty kind of quality. Use the PAGE up/down buttons to scroll through the Menu functions available - See table below.

Distortion Menu
Page Function
1 2 Level Compensation Wheel Level

Display
DIST Comp DIST Wheel

Value
0127 -64...63

Level Compensation (Menu Page 1) If distortion is added to a sound, it will tend to get louder. In order to contain or compress the sound back to a level which is consistent with other programs, use this function which compensates for the perceived added loudness of a sound when Distortion is added. Wheel Level (Menu Page 2) This function determines how much movement of the K-Stations Modulation wheel will introduce the Distortion effect.

ple, if the Chorus initial position sync is set to RGT , after an appropriate MIDI event, the Chorus effect will move from the right to the left. Wheel Level (Menu Page 8) This sets how much movement of the K-Stations Modulation wheel will introduce the Chorus effect.

Advanced Features

30

The EQ Menu
The EQ Menu
Contained in the Effects section is an EQ (Equalisation) Filter which can boost or cut high (treble) or low (bass) frequencies in a similar manner to the tone controls often found on domestic hi-fi units. As well as being able to boost low or high frequencies, the final output EQ Filter may be used to create automatic sweeps of EQ and filtering. EQ processing may be synchronized to tempo and locked to musical timings from 32nd triplets through to several bars. Use the PAGE up/down buttons to scroll through the Menu functions available - See table below.
EQ Menu
Page Function
1 2 3 4 5 Frequency Mod Depth Mod Rate Sync Mod Rate LFO Sync Initial Position

Sync Mod Rate (Menu Page 4) The rate (speed) of the dedicated EQ LFO may be locked to the tempo of the musical piece to allow auto EQ Filtering effects.The following table describes the musical timings available.
EQ Synchronisation to MIDI Clock table
Display MIDI Clocks OFF 32nd T 2 32nd 3 16th T 4 16th 6 8th T 8 16th D 9 8th 12 4th T 16 8th D 18 4th 24 2nd T 32 4th D 36 2nd 48 1bar T 64 2nd D 72 1 bar 96 2bar T 128 Synchronised to Manual Rate 32nd Triplet 32nd 16th Triplet 16th 8th Triplet 16th Dotted 8th 4th Triplet 8th Dotted 4th 2nd Triplet 4th Dotted 2nd 1 Bar Triplet 2nd Dotted 1 Bar 2 Bar Triplet Display MIDI Clocks Synchronised to 1bar D 2 bars 4bar T 3 bars 5bar T 4 bars 3bar D 7bar T 5 bars 8bar T 6 bars 7 bars 5bar D 8 bars 9 bars 7bar D 12bars 144 192 256 288 320 384 432 448 480 512 576 672 720 768 864 1008 1152 1.5 Bars 2 Bars 4 Bar Triplet 3 Bars 5 Bar Triplet 4 Bars 4.5 Bars 7 Bar Triplet 5 Bars 8 Bar Triplet 6 Bars 7 Bars 7.5 Bars 8 Bars 9 Bars 10.5 Bars 12 Bars

Display
EQ Freq EQ Mod Dep EQ Mod Rate EQ Sync EQ Init Pos

Value
0127 0127 0127 OFF12bars OFFHI

Frequency (Menu Page 1) The EQ frequency set point determines where in the sound spectrum the boost or cut occurs. The Frequency point may be moved anywhere from very low frequencies (0 = less than 10Hz) to very high frequencies (127 = above 20,000Hz)

Volume Volume Boost Boost

When a sync interval is selected, the tempo of the EQ Filter sweep is controlled by the Arpeggiators TEMPO knob when MIDI Clock Source is set to INT, or by the external sequencers tempo when MIDI Clock Source is set to EXT. See Page 35 for information on changing the Global MIDI Clock Source. When controlling the EQ Mod Rate from a sequencer, it is important to ensure that the sequencer is transmitting MIDI Clock messages. Consult your sequencer manual for details. Note : When the Sync Mod Rate is set to OFF, the timing of the EQ sweeps will be controlled by the setting of the Mod Rate. Any incoming MIDI clock messages or Arpeggiator TEMPO settings will be ignored by the EQ effect. LFO Sync Initial Position (Menu Page 5) As well as being able to synchronize to MIDI clock (tempo), the dedicated LFO used to modulate the depth of the EQ may have its initial position set after a specific MIDI event is received (such as Program Change or Start Song - see the Global Sync Mode function on Page 35). To change the EQ Initial position, select Page 5 in the EQ Menu. Use the DATA knob to select one of the initial positions shown in the table below.

EQ Frequency Point EQ Frequency Point Unchanged Volume Level Unchanged Volume Level

Volume Cut Volume

Cut

EQ Amount (-64) EQ Amount (+63)

0hz 10hz

500hz

1Khz

5Khz

20Khz

Frequency Frequency

EQ Frequency set to 5

EQ Amount (+63) EQ Amount (-64) Volume Volume Boost Boost EQ Frequency EQ Frequency PointPoint Unchanged Volume Unchanged Volume Level Level

Volume Cut Volume

Cut

10hz

500hz

1Khz Frequency Frequency

5Khz

20Khz

EQ LFO Sync Initial Position

OFF LOW MID HI Off Low Freq Centre Freq High Freq

EQ Frequency set to 50

To change the EQ frequency, select Page 1 in the EQ Menu. Adjust the DATA knob for the desired EQ frequency. Mod Depth (Menu Page 2) The real power of the EQ filter is the ability to move the EQ Frequency set point automatically with the dedicated LFO. This control dictates how intense the movements are from the LFO. Any amount of depth will result in EQ changes at the rate determined by the EQ rate control. Note : The dedicated EQ LFO should not be confused with the two LFOs available on the K-Stations front panel. To change the depth, select Page 2 in the EQ Menu. Adjust the DATA knob for the desired EQ Depth. Mod Rate (Menu Page 3) Determines the rate (speed) of the dedicated EQ LFO. This LFO is able to modulate the EQ frequency (see Mod Depth above). To change the rate, select Page 3 in the EQ Menu. Rotate the DATA knob clockwise to increase the rate and anticlockwise to decrease the rate. Note : The dedicated EQ LFO should not be confused with the two LFOs available on the K-Stations front panel.

For example, if the desired position is to start moving upwards then set this function to LOW. After an appropriate MIDI event, the LFO wave will start to climb from this low position. Set to MID and it climbs from the centre of the waveform. Note : The dedicated EQ LFO should not be confused with the two LFOs available on the K-Stations front panel. Setting The EQ Amount Setting of the EQ cut / boost amount at the EQ Frequency position is done by altering the LEVEL knob in the Effects section of the front panel. See Page 20.

31

Advanced Features

The Panning Menu

The Panning Menu
The Panning function in the K-Station performs the same function as the Panning knob on a mixing console. It can be used to position a sound anywhere from left to right in the stereo field. Changing the Pan Position of a sound Ensure that Panning is selected by the SELECT buttons in the Effects section. Turn the Effects section LEVEL knob clockwise or anticlockwise to move the sound across the Stereo field. Use the PAGE up/down buttons to scroll through the Menu functions available - See table below.
Pan Menu
Page Function
1 2 3 4 Mod Depth Rate Sync Rate LFO Sync Initial Position

When Sync Rate is set to OFF, the Panning effect will be at the rate determined by the Panning Rate setting. Any incoming MIDI clock messages or Arpeggiator TEMPO settings will be ignored by the Panning effect. LFO Sync Initial Position (Menu Page 4) As well as being able to be synchronized to a MIDI clock (tempo), the Panning LFO may have its initial position set after a specific MIDI event is received (see the Global Sync Mode function on Page 35).
Pan LFO Sync Initial Postion
OFF LFT MID RGT Off Left Centre Right

Display
PAN Mod Depth PAN Rate PAN Sync PAN Init Pos

Value
0127 0127 OFF12bars OFFRGT

The initial positions are shown in the table above. For example, if the Panning initial position sync is set to RGT (Right), after an appropriate MIDI event has been received, the sound will begin in the right output audio channel and then move towards the left. Note : The Panning LFO should not be confused with the two LFOs available on the K-Stations front panel.

Mod Depth (Menu Page 1) The Panning effect has its own dedicated LFO (not to be confused with the two LFOs available on the K-Stations front panel) which can be used to automatically pan a sound backwards and forwards across the stereo field. This function controls the depth of this automatic panning effect. When Mod Depth is set to zero, no automatic panning will be applied and the position of a sound in the stereo field will be static, being solely determined by the manual Pan position. Rate (Menu Page 2) This function controls the Panning LFOs speed. If the Mod Depth (see above) is set to a non zero value, the Panning LFO will move the sound from the Left to the Right at a speed determined by this Rate setting Note : The Panning LFO should not be confused with the two LFOs available on the K-Stations front panel. Sync Rate (Menu Page 3) A very pleasing audio effect may be heard when the Panning effect is synchronized to the tempo of a musical piece. The following table describes the musical timings available.
Panning Synchronisation to MIDI Clock table
Display MIDI Clocks OFF 32nd T 2 32nd 3 16th T 4 16th 6 8th T 8 16th D 9 8th 12 4th T 16 8th D 18 4th 24 2nd T 32 4th D 36 2nd 48 1bar T 64 2nd D 72 1 bar 96 2bar T 128 Synchronised to Manual Rate 32nd Triplet 32nd 16th Triplet 16th 8th Triplet 16th Dotted 8th 4th Triplet 8th Dotted 4th 2nd Triplet 4th Dotted 2nd 1 Bar Triplet 2nd Dotted 1 Bar 2 Bar Triplet Display MIDI Clocks Synchronised to 1bar D 2 bars 4bar T 3 bars 5bar T 4 bars 3bar D 7bar T 5 bars 8bar T 6 bars 7 bars 5bar D 8 bars 9 bars 7bar D 12bars 144 192 256 288 320 384 432 448 480 512 576 672 720 768 864 1008 1152 1.5 Bars 2 Bars 4 Bar Triplet 3 Bars 5 Bar Triplet 4 Bars 4.5 Bars 7 Bar Triplet 5 Bars 8 Bar Triplet 6 Bars 7 Bars 7.5 Bars 8 Bars 9 Bars 10.5 Bars 12 Bars

When a sync interval is selected, the tempo of the Panning is controlled by the Arpeggiators TEMPO knob when MIDI Clock Source is set to INT, or by the external sequencers tempo when MIDI Clock Source is set to EXT. See Page 35 for information on changing the Global MIDI Clock Source setting. When controlling the Panning Rate from a sequencer, it is important to ensure that the sequencer is transmitting MIDI Clock messages. Consult the sequencer manual for details.

Advanced Features

32

The Vocoder Menu - The Utilities Menu

The Vocoder menu
Vocoder sounds have recently returned to popularity and are being used more frequently in modern Pop and Dance music, typically to produce distinctive robot voice type effects. Activating The Vocoder This is done by using the LEVEL knob found in the Effects section while the Vocoder is currently selected by the SELECT buttons. This control is also used to balance the various elements used to create the Vocoder effect. See Pages 21 in the Main Features and Operation section for full details and for a description of how the Vocoder operates. Additional functions relating to the Vocoder are to be found in the Vocoder Menu. Use the PAGE up/down buttons to scroll through the Menu functions available - See table below.
Vocoder Menu
Page Function
1 2 3 Stereo Width Sibilance Level SibilanceType

The Utilities Menu

This menu contains various utility functions associated with dumping data via MIDI, restoring memories and wheel calibration. The Utilities Menu is accessed by pressing the keypad 6 button while the K-Station is already in Menu Mode. Use the PAGE up/down buttons to scroll through the Menu functions available - See table below.
Utility Functions Menu Page Function
1 2 3 4 Transmit Midi Sysex Dump Restore Factory Settings Calibrate Wheels Display Contrast

Display
Dump Restore Calibrate Contrast

Value
CURR SOUND-GLOBAL DATA ONE PROG-GLOBAL D BEND-MOD 064

Transmit Midi Sysex Dump (Menu Page 1)

Display
VOC St Width VOC Sib Lev VOC Sib Type

Value
0127 0127 HP-Noi

The K-station is capable of using MIDI System exclusive messages (often shortened to Sysex) to transfer dump a record of its memory contents for storage in a MIDI device, usually a sequencer. Saving data in this way is useful for building up sound libraries or creating an emergency data backup in case of the K-Stations memories becoming accidentally over-written. It is also possible to link two K-Stations or a K-Station and an A-Station together with a MIDI cable and use Sysex dumping as a means of directly transferring memory contents from one machine to the other. To initiate a Sysex dump, select the desired option using the DATA
Transmit Midi Sysex Dump
CURR SOUND PROG BANK 1 PROG BANK 2 PROG BANK 3 PROG BANK 4 ALL P BANKS GLOBAL DATA Current Sound (including edits) Program Bank 1 Program Bank 2 Program Bank 3 Program Bank 4 All Program Banks Global Data

Stereo Width (Menu Page 1) Determines how wide the stereo output of the vocoder will be. The 12 bands of the Vocoder are panned one by one to the left and to the right. Increasing the value moves the individual bands further away from the centre position. Sibilance Level (Menu Page 2) Determines the amount of sibilance there will be present in the final vocoded signal. Typically these are the S and T types of sounds heard in speech. Adding sibilance gives the Vocoder a more defined sound and helps make vocoded voices more intelligable. Sibilance Type (Menu Page 3) Determines if the vocoder uses real sibilance high-pass filtered from the modulator or artificially generates it using noise. When set to HP, a high pass filter is used to extract the sibilance from the modulator (Note : this will allow some of the modulator signal to be heard). When set to NOI, Noise is used to artificially generate the sibilance.

knob. Start the sequencer recording and press the WRITE button to start transmission of Sysex data. If the CURR SOUND option or GLOBAL DATA is selected then the display will flash DONE as confirmation that the transmission has taken place. If PROG BANK1 through ALL P BANKS is selected the display will indicate progress of transmission by indicating DUMPING PROG XXX (where XXX is the Program number). Note : Some sequencers (such as Cubase) sometimes have Sysex messages filtered out as a default setting. If the sequencer appears not to have recorded the sysex dump into a track, check that the sequencer is not set to filter out Sysex messages. Consult the sequencers manual for details. Receiving a Sysex Dump Once Sysex data has been stored in a sequencer track, the data can then be re-loaded into a K-Station by simply playing the sequencer track in the normal way. If a single Sound is received via Sysex, it is important to realise that it is only Program Edit Buffer which has been changed. The newlyreceived sound can immediately be played on the K-Stations keyboard, but if the new sound is to be kept, it must be manually saved into a memory location in the normal way, similar to a manually edited Program. When a whole bank of sounds or the Global settings are received via Sysex, the data is placed directly into the K-Stations memories. For this reason, it is important to make sure that the Global Memory Protect switch is set to OFF (see Page 35) before loading a whole bank of Programs or Global data, otherwise the dump will be rejected.

33

Advanced Features

The Utilities Menu

Restore Factory Settings (Menu Page 2) When originally shipped from the factory, the K-Station is supplied with two banks of 100 preset memories. However, it is possible to over-write these memory locations with new sounds or accidentally erase them. This utility enables any of the preset memories to be restored back by reading the data from the K-Stations non-erasable ROM chip. The Restore Factory Settings are shown in the table below and may be selected using the DATA/PROGRAM knob when in Menu Page 2.
Restore Factory Settings
ONE PROG ONE BANK GLOBAL D One Program 100 Programs from Factory Bank 1 or 2* Global Data

Note : It is only possible to restore Programs if the Global Memory Protect switch is turned OFF (see Page 35). Note : It is possible to abandon the restore procedure at any point by pressing the PROGRAM button and returning to Program Select Mode.

Restoring Global Data When this option is selected, press the WRITE button to restore all Global Data. The display will flash DONE and the K-Station will return to Progam Select Mode Note : It is only possible to restore Global Data if the Global Memory Protect switch is turned OFF (see Page 35).

Restoring a Single Factory Preset Sound - ONE PROG When restoring a single Program, the restored Program will be placed into whatever Program is currently selected by the K-Station. If necessary, select the appropriate destination Program from within Program Select Mode, then re-enter Menu Mode and return to this Page of the Utilities Menu. When the WRITE button is pressed, the K-Station will prompt for the Program number to be restored from ROM as displayed below.

Calibrate Wheel (Menu Page 3) This utility allows the K-Stations Pitch Bend and Modulation wheels to be calibrated for optimum performance. To calibrate the wheels, push the bend wheel (outermost wheel) fully forwards and then fully backwards. The left hand side of the display will show a value of BEND 0 when the wheel is fully backwards and BEND 256 when the wheel is fully forwards. Repeat this forward and backwards movement for the other (Modulation) wheel. The display will show MOD 0 through to MOD 128. Finally press the WRITE key once. A brief message CAL WHEEL SAVED will flash on the screen. The Kstation will then return to PROGRAM mode The wheel calibration data is stored in memory along with all the Global data, so once this has been done, it will not usually become necessary to calibrate the wheels again.

Rest ? 100 < 100

The from location is at the far right of the display and this may be altered using the DATA/PROGRAM knob. For ease of locating the desired sound, each factory preset may be auditioned using the keyboard as each new location selected. The Program number to be restored may also be selected using Numeric Keypad buttons. Note that it is only possible to select a restored Program from Banks 1 or 2. (Programs 100 - 299) Pressing the WRITE button again writes the restored Program into the destination Program as indicated by the display. The display will flash DONE and the K-Station will return to Progam Select Mode Note : It is only possible to restore Programs if the Global Memory Protect switch is turned OFF (see Page 35). Note : It is possible to abandon the restore procedure at any point by pressing the PROGRAM button.

Display Contrast (Menu Page 4) Rotate the DATA/PROGRAM knob to adjust the contrast of the KStations display until it is easy and comfortable to read.

Restoring a whole Bank of Factory Preset Sounds When restoring a whole Bank of sounds, the Bank of 100 sounds will be written to whatever Bank the currently selected Program belongs to. If necessary, select an appropriate destination Program Bank (any Program within a Bank will select its Bank) from within Program Select Mode, then re-enter Menu Mode and return to this Page in the Utilities Menu. When the WRITE button is pressed, the K-Station will prompt for the Bank number to be restored from ROM as displayed below.

Rest ? B1 < B1
Select the Bank to restore to by using the DATA knob. Note that it is only possible to select Banks 1 or 2 as the restored Banks. Pressing the WRITE button again restores the whole Bank of 100 Programs into the destination Bank (the Bank used by the currently selected Program in Program Select Mode). The display will flash DONE and the K-Station will return to Progam Select Mode.

Advanced Features

34

The Global Menu

The Global Menu
This menu is used to change various settings which remain constant regardless of which Program is currently selected. The Global Menu is selected by pressing the keypad 7 button when the K-Station is in Menu Mode. Use the PAGE up/down buttons to scroll through the Menu functions available - See table below.
Global Menu (not stored in programs) Page Function Display
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 Memory Protection Midi Receive Channel Midi Transmit Channel Keyboard Transmit Channel Master Tune Cents Local Control Midi Clock Source Midi Clock Input Status Global Sync Mode Velocity Curve Function Display Time* Prog Mode Display Control* New Menu Always Page 1 Input Sensitivity Range Input Trim dB Input Trigger Sensitivity Octave Buttons Control Mem Protect Midi Rx Chan Midi Tx Chan Kbd Tx Chan Master Tune Local Cntrol Clock Source Ext Clock In Glob Sync Vel Curve Display Time Disp Control NewMenu Page InSens InTrim In Trig Sens <<oct>> Kill

Local Control (Menu Page 6) This function can be thought of as a switch which when set to OFF, disconnects the front panel controls and keyboard from the K-Stations synthesizer engine. Playing the keyboard or moving any of the K-Stations controls still results in the appropraite MIDI information being transmitted from the K-Stations MIDI OUT socket, but they will have no direct affect on the K-Station itself. The K-Station will only be affected if the MIDI signals are routed back into the MIDI IN socket - probably by a sequencer. It is recommended that this is set to ON unless the full MIDI implications are appreciated of turning this OFF. Please see Page 12 in the MIDI and Sequencers chapter the MIDI Tutorial section of this manual for more details. MIDI Clock Source (Menu Page 7) The K-Station requires a master timing clock in order to determine the tempo (rate) of the arpeggiator and to provide a time base for synchronization to other musical timings. This clock may be derived internally or received from an external device that is able to send a master timing clock (This is often known as a MIDI clock). This setting determines whether the K-Stations tempo synchronised features (Arpeggiator, Chorus Sync, EQ Sync, Delay Sync & Panning Sync) will follow the tempo of an external sequencer (external clock) or follow the tempo set by the TEMPO knob found in the Arpeggiator section (external clock). When set to EXT, external clock synchronisation is being used and the temp will be calculated from MIDI Clock messages received from a sequencer. Make sure sure the external sequencer is set to transmit MIDI Clock. Consult the sequencer manual for details. Note : Most sequencers do not transmit MIDI Clock while they are stopped. Synchronization of the K-Station to MIDI Clock will only be possible while the sequencer is actually recording or playing. When set to INT, the K-Stations own internal clock is used for synchronisation purposes. The tempo of the internal clock is controlled by the
Global Sync Mode
NOTE 1 NOTE P SNG ST First Note when All Notes are Off First Note after Program Change Midi Song Start message

Value
OFF-ON 116 116 116 -6463 OFF-ON INT-EXT -- / ON / bpm value NOTE 1SNG ST SOFT-HARD 0127 TIME-PERM OFF-ON LIN-MIC -1020 0127 OFF-ON

* For display of control knob settings (not menu settings)

Memory Protect (Menu Page 1) This is a safety switch, used to prevent accidental erasure of memories and loss of data. When set to ON, writing Programs or Global data into memory will be prevented, and a brief warning message shown on the K-Stations display. It is recommended that Memory Protect is left ON unless Programs are being edited for storing into memory, or a System Exclusive dump from a sequencer is to be received. Permanently saving any changes made to Global settings Any changes made to the Global settings will remain valid only while the power to the K-Station is on. To permanently save any new settings, the Global Memory must be saved. To do this, press the WRITE button at any time that the Global Menu is active. A message SAVING GLOBALS will be appear for a short period on the display. Once saved, even if the power is turned off, any new settings will be memorised. NOTE: After permanently saving the Global settings, the currently selected Program will be the default Program after applying power. MIDI Receive Channel (Menu Page 2) Specifies the MIDI channel on which the K-Station will accept MIDI messages from a sequencer or other MIDI device. MIDI Transmit Channel (Menu Page 3) Specifies the MIDI channel used by the K-Station for transmitting MIDI information when knobs and switches are altered on the front panel. Keyboard Transmit Channel (Menu Page 4) Specifies which MIDI channel will be used for transmission whenever the K-Stations keyboard is played or the Pitch Bend or Modulation Wheels are moved. This number would normally be set to the same MIDI channel as the MIDI Transmit Channel, but there may be circumstances (for instance in a live performance situation) where it would be desirable to set this to a different channel number. Master Tune Cents (Menu Page 5) Adjusts the master tuning of the K-Station. At the factory, this value will have been set to 0. This setting of zero is equivalent to concert pitch tuning (middle C = 440 Hz).

TEMPO knob found in the Arpeggiator section. MIDI Clock Input Status (Menu Page 8) Sometimes it is desirable to monitor whether a sequencer is actually transmitting MIDI Clock information. This is especially useful for troubleshooting if MIDI Clock Source is set to EXT. To see if an external device is sending a MIDI clock, select this Menu Page. If an external clock is being received, the display will indicate the tempo of the external clock. If not - - will be displayed. If ON is displayed, synchronisation to the internal clock is being used. Global Sync Mode (Menu Page 9) If MIDI Clock Source is set to EXT (external clock), a clock synchronization type may be selected using this function This allows the first note played after all notes have been released or the first note played after a MIDI Program Change or MIDI Start Song Message to synchronize the Panning, EQ Filter and Chorus LFOs and voice LFOs as described on page 26. This allows them to have their start position locked in time with the musical piece for stunning effects. Velocity Curve (Menu Page 10) The response to MIDI velocity information from an external device such as a MIDI controller keyboard or a sequencer may be set using this function. A setting of SOFT indicates that smaller changes in velocity (a lighter playing style) will create a large change in response to velocity, be it

35

Advanced Features

The Global Menu

volume or any other modulation destination that velocity is routed to. A setting of HARD indicates that higher changes in velocity - a much harder playing style, will create large changes in response to velocity. Function Display Time (Menu Page 11) In Normal operation, whenever the K-Station is in Menu Mode or Program Mode, the display will show the current page within the currently selected menu. If a knob is moved on the K-Stations front panel, the display will momentarily switch to show the moved knobs value. After a while, the display reverts to showing the menu page previously displayed. Use this function to adjust the amount of time these temporary messages are displayed on the screen before reverting back to the previous display. Short values give a very brief display period. Longer values increase the display time. A setting of 0 will inhibit the temporary messages being displayed altogether. Prog Mode Display Control (Menu Page 12) This function applies only when the K-Station is not in Menu Mode. It determines how the K-Station will behave when a front panel control is altered. When set to TIME, the K-Station will automatically return back to Program Select Mode after a short period of time (determined by the Global Function Display Time setting as described above). If set to PERM, when a front panel control is moved, the K-Station will remain in Program Edit Mode until another mode of operation is selected. New Menu Always Page 1 (Menu Page 13) All display menus (including this Global one) can operate in one of two different modes. The first mode (factory default setting) specifies that each time a new menu key is pressed, the first Page in the menu list is always selected. For example, pressing the keypad button 2 (selecting the Filter Menu) while in Menu Mode will result in always selecting the menu Page showing the Filter Q Normalise setting. The second mode specifies that the last accessed Page in the menu list is selected the next time that menu is accessed. For example, if the Filter Overdrive setting is being adjusted (Filter menu Page 2), if a different menu is now selected (for example, the Oscillators Menu) and the Filter menu is subsequently selected again, the menu page showing the Overdrive setting would be displayed again. Select OFF for the last accessed menu page to be remembered when a menu is selected and ON for a newly selected menu to always display the first page in its menu list. Using the External Audio Input In order to use an external audio input, the K-Station must be set up to correctly to respond to the level (amplitude) of the incoming signal. Since the levels of these signals can vary substantially, the Global menu functions Input Sensitivity Range and Input Trim dB (detailed below) must be adjusted for optimum performance.This will minimize signal distortion and noise. Input Sensitivity Range (Menu Page 14) Connect the input device to the rear panel jack labeled INPUT. When connecting devices such as CD players, Turntables, Mixing desks or other line level equipment, set the Input Sensitivity Range to LINE.

| InSens MIC
The first five character blocks (forming a horizontal bar) to the left of the display will illuminate according to the level of the signal. It is likely that they will all illuminate, or just the lowest one or two to the left. The Input Trim dB function must now be used to optimize performance. Input Trim dB (Menu Page 15) After Input Sensitivity Range has been set, the sensitivity must be trimmed for best performance. Whilst the input signal is present, adjust this value using the DATA knob until the the first four blocks are fully lit and the fifth block lights occasionally as shown in the illustration below.

InTrim -3

The sensitivity level is now set correctly. In order to hear the external signal through the effects processor or to make the signal trigger sounds, the current PROGRAM selected has to have external audio enabled. This is done from within the Envelopes Menu (see the Audio Input Triggering and External Audio To Effects functions on Page 27). Setting an External Audio Signal to Trigger the Envelopes It is possible to make the K-Station trigger automatically (thus opening the Amplifier and Filter via the Envelopes) whenever an external signal is present. To do this, it is necessary to determine a threshold level, where the Envelopes are triggered whenever the signal reaches or passes a certain loudness point. The threshold is set by using the following Input Trigger Sensitivity function. Input Trigger Sensitivity (Menu Page 16) This function sets the audio input threshold level, in other words, how loud the external signal has to be in order to trigger the Envelopes. Low values require a very loud signal to auto-trigger. Higher values progressively enable much quieter signals to trigger the Envelopes. Note that it is necessary for a Program to have its Audio Input Triggering setting (in the Envelopes Menu) switched to ON in order for auto-triggering to take place. See Page 27 for details on how to set this. NOTE: If the external audio signal seems to be distorting when using a microphone or guitar (without the distortion effect turned on) try selecting LINE instead of MIC using the input sensitivity function. Experiment with different settings until the external audio signal reliably triggers the K-Station as required. Whenever the K-Station is auto-triggered in this way, it actually behaves as if a Middle C note has been played on the keyboard. It may well be necessary to use the Mixer controls to turn down the levels of the Oscillators if a pitched element to the sound is not required. This is especially recommended if it is desired to hear only the external audio signal passed through the Filter. Octave Buttons - KILL - Control (Menu Page 17) When Octave KILL is set to ON, as soon as either the OCTAVE UP or DOWN button is pressed all notes will be turned off. Set to OFF and notes will remain on even when the keyboard is being played in another Octave. Hanging notes may be cancelled by switching back to the former octave and re-playing the same notes. As a safety when in this mode, all notes may also be turned off by pressing the PROGRAM button.

_____| InSens LIN

Input Sensitivity set to LINE Set to MIC for low level devices such as Guitars or Microphones. Once set, play (or talk into the microphone) the input device.

Advanced Features

36

The Aftertouch, Breath Menu & Wheels Menu

The Aftertouch & Breath Menu
This menu controls how the K-Station responds to Aftertouch and Breath Control (CC2) MIDI messages. It is selected by pressing the keypad 9 button when the K-Station is in Menu Mode. Use the PAGE up/down buttons to scroll through the Menu functions available - See table below.
Aftertouch / Breath Menu
Page Function
1 2 3 4 5 6 7 8 9 10

QUENCY will also decrease. Adjust this to set the depth of modulation applied by LFO 2. At a setting of 0, Aftertouch messages will have no effect. For best results, ensure that LFO 2 is using a Triangle waveform. This will give a smooth, traditional wow-wow effect. Atouch : Amp Gain (post - distortion) (Menu Page 5) Allows Aftertouch messages to directly alter the Amplifier level, allowing the overall volume of a sound to be altered. Positive values of (1 to 63) increase the output volume of the Amp Envelope as Aftertouch is applied. Negative values (-1 to -64) decrease the output volume of the Amp Envelope as Aftertouch is applied. At a setting of 0, Aftertouch messages will have no effect. Routing Breath Control It is also possible to use incoming Breath Control MIDI messages to affect and modulate sounds. The principle of using Breath Control is exactly the same as the way in which Aftertouch is applied. The remaining five pages in the menu offer exactly the same features and routings as are available for Aftertouch, but these settings apply to Breath Control information.

Display

Value
-64...63 -64...63 -64...63 -64...63 -64...63 -64...63 -64...63 -64...63 -64...63 -64...63

Atouch: Osc 1,2,3 Pitch Shift AT Pitch Atouch: Osc 1,2,3 Pitch Mod (lfo1) AT Pitch Mod Atouch: Filter Frequency Shift AT Filt Freq Atouch: Filter Frequency Mod (lfo2) AT FFreq Mod Atouch: Amp Gain (post-distortion) AT Amp Gain Breath: Osc 1,2,3 Pitch Shift BR Pitch Breath: Osc 1,2,3 Pitch Mod (lfo1) BR Pitch Mod Breath: Filter Frequency Shift BR Filt Freq Breath: Filter Frequency Mod (lfo2) BR FFreq Mod Breath: Amp Gain (post-distortion) BR Amp Gain

Ensure that a connected MIDI device is configured to transmit Aftertouch or Breath Control MIDI data (if in doubt, consult the devices manual for details). In order to hear the effect of any of these settings, press a key on the connected keyboard or blow into the breath controller while adjusting the values. Note that the K-Stations own keyboard does not generate Aftertouch data. Aftertouch messages can only be sent from an external MIDI keyboard or sequencer.

The Wheels Menu

This menu controls how the K-Station will respond to Pitch and Modulation from its own pitch and mod wheels. It is selected by pressing the keypad 8 button when the K-Station is in Menu Mode. Use the PAGE up/down buttons to scroll through the Menu functions available See table below.

Wheels Menu
Page Function Display
BW Osc1 Bend BW Osc2 Bend BW Osc3 Bend MW Pitch MW Pitch Mod MW Filt Freq MW FFreq Mod MW Amp Gain

Value
-12...12 -12...12 -12...12 -6463 -6463 -6463 -6463 -6463

Atouch : Osc 1, 2, 3 Pitch Shift (Menu Page 1) This setting is used to shift the absolute pitch of the Oscillators up or down in response to incoming Aftertouch data. Set in the range -64 to -1, and any Aftertouch data will shift the pitch of the Oscillators downwards. With a range of 1 to 63, any Aftertouch data received will shift the pitch of the Oscillators upwards. Greater values increase the amount of pitch shifting applied. At a setting of 0, Aftertouch messages will have no effect. Atouch : Osc 1, 2, 3 Pitch Mod (LFO 1) (Menu Page 2) Enables LFO 1 to modulate the pitch of the Oscillators, introducing a vibrato effect. As Aftertouch messages are received, the LFO 1 modulation will be applied. As the Aftertouch data falls back towards zero, the amount of LFO 1 modulation to the Oscillators pitch will also decrease. Adjust this value to set the depth of pitch modulation applied by LFO 1. At a setting of 0, Aftertouch messages will have no effect. For best results, ensure that LFO 1 is using a Triangle waveform. This will give a smooth, traditional vibrato effect. Atouch : Filter Frequency Shift (Menu Page 3) This setting is used to shift the Cutoff FREQUENCY of the Filter up or down in response to incoming Aftertouch data. Set in the range -1 to -64, the Filter will close (the Cutoff FREQUENCY will decrease) as Aftertouch data is applied. With a range of 1 to 63, the Filter will open (the Cutoff FREQUENCY will increase) as Aftertouch data is applied. Greater values will open (increase the Cutoff FREQUENCY) as Aftertouch data is received. At a setting of 0, Aftertouch messages will have no effect. Atouch : Filter Frequency Mod (LFO 2) (Menu Page 4) Enables LFO 2 to modulate the Cutoff FREQUENCY of the Filter, introducing a wow-wow effect. As Aftertouch messages are received, the LFO 2 modulation will be applied. As the Aftertouch data falls back towards zero, the amount of LFO 2 modulation to the Filter Cutoff FRE-

1 2 3 4 5 6 7 8

Osc 1 Pitch Bend Semitones Osc 2 Pitch Bend Semitones Osc 3 Pitch Bend Semitones Osc 1,2,3 Pitch Shift in Semitones Osc 1,2,3 Pitch Mod (LFO1) Filter Frequency Shift Filter Frequency Mod (LFO2) Amplifier Gain (post-distortion)

Oscillator 1,2 and 3 Pitch Bend Amount (Menu Page 1) This setting is used to shift the absolute pitch of the Oscillators up or down in response to the Pitch (left hand) Wheel position. Values 1 to 12 will result in a higher pitch from 1 to 12 semitones when the wheel is pushed forward. Display values -1 to -12 will result in a lower pitch. NOTE: If the current program uses more than one Oscillator, it is recommended that the bend amount is set equal for each Oscillator. If chord type effects are required when moving the pitch wheel, different pitch bend amounts may be set for each Oscillator. Modulation Wheel Pitch shift in Semitones (Menu Page 4) It may be desirable to drastically change the pitch of all the Oscillators using the Modulation Wheel. This setting is used to shift the absolute pitch of the all the Oscillators up or down in response to the Modulation (right hand) Wheel position. Values 1 to 63 will result in a higher pitch from 1 to 63 semitones when the wheel is pushed forward. Values -1 to -64 will result in a lower pitch. Oscillator 1, 2 and 3 Pitch Modulation from LFO 1 (Menu Page 5) Enables LFO 1 to modulate the pitch of the Oscillators, introducing a vibrato effect. As the Modulation Wheel is pushed forwards LFO 1 modulation will be applied. As the Modulation wheel is pulled back the amount of LFO 1 modulation to the Oscillators pitch will decrease. Adjust this value to set the depth of pitch modulation applied by LFO 1. For best results, ensure that LFO 1 is using a Triangle waveform. This will give a smooth, traditional vibrato effect.

37

Advanced Features

The Wheels and Arpeggiator Menu

The Wheels Menu
Opening or Closing the Filter using the Modulation Wheel (Menu Page 6) The filter Cut off frequency may be raised (opening the filter) or lowered (closing the filter) directly from the modulation wheel using this menu option. Positive values from 1 to 63 will open the Filter when the wheel is pushed forward. A negative values from -1 to -64 will close the Filter when the wheel is pushed forward. Filter Frequency Modulation from LFO 2 using the Modulation Wheel (Menu Page 7) Enables LFO 2 to modulate the Cutoff FREQUENCY of the Filter,. The popular wow-wow effect will be heard if LFO 2 waveform is set to Triangle. A positive value 1 to 63 will open the filter in time with LFO 2 above the basic Cut off frequency. A negative value -1 to -64 will close the filter in time with LFO 2 below the basic Cut off frequency. Using a high value and setting LFO 2 to different waveforms will introduce dramatic effects when moving the modulation wheel. Control of Main Volume from the Modulation Wheel (Menu Page 8) By routing the Modulation wheel to the amplifier, the overall volume of the sound may be controlled. Positive values of 1 to 63 increase the output volume of the Amp Envelope as the Modulation Wheel is pushed forwards. Negative values from -1 to -64 decrease the output volume of the Amp Envelope as the Modulation Wheel is pushed forwards. At a setting of 0, the wheel will have no effect. Up/Down The arpeggio starts at the lowest note played and sweeps up through the notes until it reaches the highest note. It then sweeps back down. This is useful when playing three notes in songs with a 3/4 time signature. Up/Down - end repeat The arpeggio starts at the lowest note played, plays it twice, and sweeps up through the notes until it reaches the highest note. It then plays the top note again and sweeps back down. Order Played The arpeggio plays the notes in the order they were played on the keyboard. Once at the end of the notes played it repeats the sequence. Random Notes played will be arpeggiated in a random order. Octave Range (Menu Page 2) Sets how many octaves the Arpeggio pattern will sweep through. The sweep range is selectable from 1 to 4 octaves. Gate Time (Menu Page 3) Sets the gate time or duration of the notes being played by the Arpeggiator. Small values of gate time produce a Staccato effect. Large values produce a Legato effect. Anticlockwise and the gate time is very short, clockwise and the gate time is long. Latch (Menu Page 4) When activated, remembers notes played on the keyboard, even after the notes have been released. Once all notes on the keyboard have been released, the next chord to be played on the keyboard will clear the existing latch memory and only the newly played chord will be arpeggiated. Note : It is possible to control the Arpeggiator Latch On/Off from an external Computer/Sequencer/Keyboard. Transmit MID CC 64 (Sustain) with a value of 127 to turn the Arpeggiator latch ON and transmit controller number 64 with a value of 0 to turn the latch OFF. Keysync (Menu Page 5) When activated, the arpeggio pattern will re-start whenever a new note is played on the keyboard. Sync Type (Menu Page 6) Allows the Arpeggiator to be synchronized with an external sequencer. A range of synchronization values are available :
Arpeggiator Sync to MIDI Clock table
Display OFF 32nd T 32nd 16th T 16th 8th T 16th D 8th 4th T 8th D 4th 2nd T 4th D 2nd 1bar T 2nd D 1 bar MIDI Clocks 2 3 4 6 8 9 12 16 18 24 32 36 48 64 72 96 Synchronised to Manual Rate 32nd Triplet 32nd 16th Triplet 16th 8th Triplet 16th Dotted 8th 4th Triplet 8th Dotted 4th 2nd Triplet 4th Dotted 2nd 1 Bar Triplet 2nd Dotted 1 Bar

The Arpeggiator Menu

To complement the front panel controls in the Arpeggiator section, there are many other functions located in the Arpeggiator Menu. This is selected by pressing the keypad 0 button when the K-Station is in Menu Mode. Use the PAGE up/down buttons to scroll through the Menu functions available - See table below.

Arpeggiator Menu
Page Function
1 2 3 4 5 6 7 Pattern Octave Range Gate Time Latch Keysync Sync Type Arp Note Desitination

Display
ARP Pattern ARP Octaves ARP Gate Tim ARP Latch ARP Keysync ARP Sync ARP Notes

Value
UPRND 14 0...127 OFF-ON OFF-ON 32T...1 bar INT- EXT- I + E

Pattern (Menu Page 1) This determines the Arpeggio pattern played by the Arpeggiator. There are six types of pattern available :
Arp Pattern
UP DN UD1 UD2 ORD RND Up Down Up/Down Up/Down - end repeat Order Played Random

Up The arpeggio starts at the lowest note played and sweeps up through the notes until it reaches the highest note. It then starts at the bottom again and repeats the sequence. Down The arpeggio starts at the highest note played and sweeps down through the notes until it reaches the lowest note. It then starts at the top again and repeats the sequence.

When a sync interval is selected, the tempo of the Arpeggiator is controlled by the Arpeggiator TEMPO knob when MIDI Clock Source is set to INT, or by the external sequencers tempo when MIDI Clock Source is set to EXT. See Page 35 for information on setting the Global MIDI Clock Source.

Advanced Features

38

Arpeggiator and Advanced Connection Diagram

The Arpeggiator Menu
Arp Destination (Menu Page 7) For flexibility, the Arpeggiator output may be routed to a number of destinations. Setting the Arp destination to INT routes the Arpeggiated notes to the internal sound engine. This could be considered as the normal mode of operation. Setting the destination to EXT will route the Arpgeggiated notes ONLY to the MIDI output socket and they will be transmitted as MIDI note on/off infomation. The MIDI note information will be present on the Keyboard Transmit channel. (See page 35 GLOBAL Menu Page 4 to change this channel number). Setting the destination to I + E (internal and external) will route Arpgeggiated notes to both the MIDI output socket and the internal sound engine. NOTE: When the option is set to either EXT or I + E and the MIDI transmit channel and the Keyboard transmit channel are the same, normal note on/off information will be suppressed on the MIDI transmit channel. If the MIDI transmit channel and the Keyboard transmit channel are different, then Arpeggiated notes will be present on the Keyboard transmit channel and normal notes played will be present on the MIDI transmit channel.

Advanced Connection Diagram

K-Station must be set to Local OFF mode

on / off

Novation PSU6 Power supply

Sustain Pedal

MIDI IN

MIDI OUT

MIDI IN 1

MIDI IN 2

MIDI OUT 1

Audio Inputs

Amplifer / Mixer and Monitors

External Audio Input Device (Guitar / Microphone / CD Player)

Master Keyboard / Workstation

Computer / Sequencer

The diagram above illustrates how the K-Station is connected in a typical MIDI recording setup. It utilises all the Input and Output features. This setup allows real-time recording of knob movements into a Computer Software/Sequencer since both the MIDI output of the external keyboard and the MIDI output of the K-Station are connected to the Computer Software/Sequencer. The Computer Software/Sequencer MUST have at least 2 MIDI inputs to allow knob movements to be recorded at the same time as playing the keyboard. If it does not, then a MIDI merge box must be used to merge the MIDI information from the keyboard and the K-Station into a single stream (Consult the manufacturers user guide for the MIDI merge box for correct connection). If the Master Keyboard is a Workstation (it has a Synthesizer built in) set it to Local Off or the equivalent in its MIDI setup.

Turn the Computer Software/Sequencers Soft Thru (or sometimes called Echo Back) to the On or Enabled position. Select a track in the Computer Software/Sequencer and assign it to the MIDI receive channel of the K-Station. Play the keyboard and an audio output from the K-Station should be heard through the Headphones/Monitors. Tracks on the Computer Software/Sequencer that are assigned to the MIDI channel(s) of the workstation should also trigger sounds in the workstation.

39

Advanced Features

Factory Preset Sounds Listing

Factory Preset Sounds Listing
Bank 1 - Sounds 100 - 199
No. 100 101 102 103 104 105 106 107 108 109 Name Bass1 Hard Lead1 Arpeggio1 Dance1 Pad1 Keyboard1 Strings1 Brass1 Organ1 Soft Lead1 No. 110 111 112 113 114 115 116 117 118 119 Name Bass2 Hard Lead2 Arpeggio2 Dance2 Pad2 Keyboard2 Strings2 Brass2 Organ2 Soft Lead2 No. 120 121 122 123 124 125 126 127 128 129 Name Bass3 Hard Lead3 Arpeggio3 Dance3 Pad3 Keyboard3 Strings3 Brass3 Organ3 Soft Lead3 No. 130 131 132 133 134 135 136 137 138 139 Name Bass4 Hard Lead4 Arpeggio4 Dance4 Pad4 Keyboard4 Strings4 Brass4 Organ4 Soft Lead4 No. 140 141 142 143 144 145 146 147 148 149 Name Bass5 Hard Lead5 Arpeggio5 Dance5 Pad5 Keyboard5 Strings5 Brass5 Organ5 Soft Lead5 No. 150 151 152 153 154 155 156 157 158 159 Name Bass6 Hard Lead6 Arpeggio6 Dance6 Pad6 Keyboard6 Strings6 Brass6 Organ6 Soft Lead6 No. 160 161 162 163 164 165 166 167 168 169 Name Bass7 Hard Lead7 Arpeggio7 Dance7 Pad7 Keyboard7 Strings7 Brass7 Organ7 Soft Lead7 No. 170 171 172 173 174 175 176 177 178 179 Name Bass8 Hard Lead8 Arpeggio8 Dance8 Pad8 Keyboard8 Strings8 Brass8 Organ8 Soft Lead8 No. 180 181 182 183 184 185 186 187 188 189 Name Bass9 Hard Lead9 Arpeggio9 Dance9 Pad9 Keyboard9 Strings9 Brass9 Organ9 Soft Lead9 No. 190 191 192 193 194 195 196 197 198 199 Name Bass10 Hard Lead10 Arpeggio10 Dance10 Pad10 Keyboard10 Strings10 Brass10 Organ10 Soft Lead10

Bank 2 - Sounds 200 - 299

No. 200 201 202 203 204 205 206 207 208 209 Name Bass11 Hard Lead11 Arpeggio11 Dance11 Pad11 Keyboard11 Trance1 Brass11 Motion1 FM1 No. 210 211 212 213 214 215 216 217 218 219 Name Bass12 Hard Lead12 Arpeggio12 Dance12 Pad12 Keyboard12 Trance2 Brass12 Motion2 FM2 No. 220 221 222 223 224 225 226 227 228 229 Name Bass13 Hard Lead13 Arpeggio13 Dance13 Pad13 Keyboard13 Trance3 Brass13 Motion3 FM3 No. 230 231 232 233 234 235 236 237 238 239 Name Bass14 Hard Lead14 Arpeggio14 Dance14 Pad14 Keyboard14 Trance4 Brass14 Motion4 FM4 No. 240 241 242 243 244 245 246 247 248 249 Name Bass15 Hard Lead15 Arpeggio15 Dance15 Pad15 Keyboard15 Trance5 Brass15 Motion5 FM5 No. 250 251 252 253 254 255 256 257 258 259 Name Bass16 Hard Lead16 Arpeggio16 Dance16 Pad16 Keyboard16 Trance6 Brass16 SFX1 Vocoder1 No. 260 261 262 263 264 265 266 267 268 269 Name Bass17 Hard Lead17 Arpeggio17 Dance17 Pad17 Keyboard17 Trance7 Brass17 SFX2 Vocoder2 No. 270 271 272 273 274 275 276 277 278 279 Name Bass18 Hard Lead18 Arpeggio18 Dance18 Pad18 Keyboard18 Trance8 Brass18 SFX3 Vocoder3 No. 280 281 282 283 284 285 286 287 288 289 Name Bass19 Hard Lead19 Arpeggio19 Dance19 Pad19 Keyboard19 Trance9 Brass19 SFX4 Ex Aud Trig No. 290 291 292 293 294 295 296 297 298 299 Name Bass20 Hard Lead20 Arpeggio20 Dance20 Pad20 Keyboard20 Trance10 Brass20 SFX5 Ex Aud to FX

Example Initialisation Sounds

Sound 300 - Double Saw Example 1 Sound 302 - Oscillator Sync Example Oscillator 1 can sync Oscillator 2 so that each time Oscillator 1 completes it's cycle it resets the start cycle of Oscillator 2. When listening to only Oscillator 2 this has a very distinctive sound. Here the Oscillator 2 level is 100% and Oscillator levels for Oscillators 1&3 are both 0%. Oscillator 1 has no envelope modulation whereas Oscillator 2 has a mod env depth of 45. The modulation envelope is set with an attack of 080 and a decay of 100. The sustain and release times for the mod envelope are 000. As the pitch of Oscillator 1 rises and falls this changes the way the Oscillator 2 wave is reset. Try experimenting with the modulation envelope settings, the mod env depth amount for Oscillator 2 and the Octave / Semitone settings for Oscillators 1&2. Sound 303 - Ring Mod Example Here all the Oscillator levels are set to 000. The Ring Mod level is set to 100%. The modulation envelope has an attack setting of 035 and a decay setting of 105. The mod env amount is set to +50 for Oscillator 2 and -40 for Oscillator 1. Try experimenting with the modulation envelope settings, the mod env depth amount for Oscillators 1&2 and the octave / semitone settings for Oscillators 1&2. Sound 304 - Main Output EQ Filter Example. The additional main output tempo sync'ed enveloped filter. This is a powerful eq filter which is at the output stage of the signal path of the K-Station. This can boost frequencies as well as attenuate them - compared the low pass filter which can only attenuate. Positive settings of the amount control will boost frequencies above the frequency point and attenuate frequencies below it. Negative settings of the eq amount will attenuate frequencies above the frequency point and boost frequencies below it. The key point to this feature is the EQ Depth control. This will use a dedicated LFO to move the frequency point of the eq. The eq LFO can be sync'ed to midi clock or to the arpeggiator clock and an eq initial position can also be set just like for the chorus and pan effects. This example has been set up for use with an external input. It will work particularly well with drum loops etc. Try varying the amp envelope controls and the eq level, depth, rate and frequency controls.

The double effect works by making each oscillator produce two waves for each setting - sine, saw and tri. These are normally in phase and appear to be one waveform. The phase difference between each of the two waves for a single oscillator can be independently phase shifted by adjusting the pulse amount control. The phase can be moved from -180 to 180 degrees. This can be automated by using an LFO to adjust the phase difference between the two waves. When a triangle LFO 2 wave is selected, this will ramp the phase difference of the double waves up and down and the result is similar to a chorus effect. At moderate to high settings this sounds much like PWM of a square wave. In this sound only oscillator 1 is used. It is set to a sawtooth wave. The PWM position is set centrally and the PWM position from LFO 2 is set to +30. LFO 2 speed is set to 65 with the waveform as a tri wave. Try varying the speed of LFO 2 and the PWM position from LFO 2 amount for different effects. Sound 301 - Double Saw Example 2

When a sawtooth wave for LFO 2 is selected and used to modulate the phase difference between the two waves AND the LFO 2 pulse amount is set to maximum, a complete change in phase occurs between the double waves from maximum to minimum (180 to -180 degrees) during the cycle of 1 period of the LFO. This then repeats immediately from 180 degrees again. This is equivalent to two waves with a constant detune. In this example only Oscillator 1 is used again. It is set to a sawtooth wave. The PWM position is set centrally and the PWM position from LFO 2 is set to +63. The LFO speed is set to 50 with the LFO 2 waveform as a saw wave. Try varying the LFO speed to adjust the amount of detune between the double oscillators. Note that settings for the LFO 2 pulse amount that are not maximum or minimum values will produce clicks in the sound because the phase difference will be interrupted.

Advanced Features

40

Specification
K-Station Technical Specification
Oscillators 1, 2 and 3
Waveform Square / Saw / Variable Pulse / Tri / Sine / Double Saw / Double Tri / Double Sine Shift -1 / 0 /+1 / +2 -100% to +100% -100% to +100% Mod Env / Manual / LFO2 1*2 2*3 0 100% 0 100% 500uS-20 Seconds 1mS-20 Seconds MIDI Sockets Audio Input Audio Outputs Reverb

Interfacing
In / Out / Thru Line Level 1 x Mono 1/4 Jack Line Level 2 x Mono 1/4 Jack

Octave Range Mod Env Depth LFO1 Depth PWM Source Ring Mod FM 2 * 3 FM Level 2 * 3 FM Mod Level FM Env Attack Rate FM Env Decay Rate

Effects
Level / Echo Chamber, Small Room Large Room, Small Hall, Large Hall Grand hall / Decay / Wheel Level Level / Rate / Type / MIDI Clock Sync / Feedback / Mod Depth / Centre / MIDI clock sync inital Position Wheel Level Drive / Compensation / Wheel Level Position / Mod Depth / Speed / MIDI clock Sync Initial Position Depth / Time / Feedback / MIDI Clock Sync/ Stereo Width / Ratio / Wheel Level On Off / Sibilance Level / Sibilance Type Depth / Freq / Mod Depth / Mod Speed MIDI clock sync / MIDI clock sync Initial postion

Chorus - Phaser

Distortion Comprehensive Aftertouch, Breath and Pitch / Mod Wheel control of both static pitch and modulation of pitch Panning Delay

Mixer
Osc 1 Level Osc 2 Level Osc 3 Level Noise Level FM Level External Input Level Frequency Resonance Mod Env Depth LFO 2 Depth Cut Off Keyboard Tracking Overdrive / Q normalise 0 100% 0 100% 0 100% 0 100% 0 100% 0 100%

Vocoder

Filter
5Hz-24kHz 0-Self Oscillation (24dB mode) -100% to +100% -100% to +100% 0-100% 0-100% 0-100%

EQ / Filter

General
Keyboard Power Dimensions Weight 2 Octave 25 keys with velocity sensitivity - Pitch and Modulation Wheels 9 Volt D.C. 600 mA W=525mm H=94mm D= 295mm 4.0 Kg

Comprehensive Aftertouch, Breath and Pitch / Mod Wheel control of both static filter freq and modulation of filter freq

Amplifier Envelope
Velocity
Attack Decay Sustain Release Velocity Decay Sustain Release Waveform Speed Delay Fade In LFO Sync Waveform Speed Delay Fade In LFO Sync Arpeggiator -100% to +100% 250uS-20 Seconds 1mS-20 Seconds 0-100% 1mS 20 Seconds

Mod Envelope
-100% to +100% 1mS-20 Seconds 0-100% 1mS 20 Seconds

LF01
Sample & Hold / Tri / Saw / Squ 0 Hz 1Khz 0 5 Seconds Internal MIDI Clock

LF02
Sample & Hold / Tri / Saw / Squ 0 Hz 1Khz 0 5 Seconds Internal MIDI Clock

Arpeggiator
Speed / Range / Gate Time / MIDI Clock / Sync / Keysync

A-1

Appendix

MIDI Controller List

MIDI Controller List
Some controllers adhere to the normal midi-specified use (eg modwheel, volume) but most are used arbitrarily and no claim is made of compatibility with other Novation products or other manufacturers products. This is a common practice among manufacturers. Whilst an attempt has been made to avoid misuse of standard controllers which could cause problems, Novation takes no responsibility for compatibility issues. Unless noted, controllers are transmitted and received. Unless noted, values have the range 0-127. *** denotes a signed value where 64 represents zero. Unless noted, this is -64..0..+63 stored as 0..64..127 another example is -12..0..+12 stored as 52..64..76 denotes controller not used

Some controllers use the available 7 data value bits to control more than one parameter. These are noted as packed parameters and details are given. The term pulse width is properly applied when squarewave is selected. For other waveforms, read pulse width as double waveform phase offset. Double waveform phase offset is zero when the signed pulse width position parameter is 64 (meaning 0). # 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 MIDI-SPECIFIED USE bank msb modwheel msb breath msb undefined msb foot controller msb portamento time msb data entry msb volume msb balance msb undefined msb pan msb expression msb effect control 1 msb effect control 2 msb undefined msb undefined msb gen. controller 1 msb gen. controller 2 msb gen. controller 3 msb gen. controller 4 msb undefined msb undefined msb undefined msb undefined msb undefined msb undefined msb undefined msb undefined msb undefined msb undefined msb undefined msb undefined msb bank lsb modwheel lsb breath lsb undefined lsb foot controller lsb portamento time lsb data entry lsb volume lsb balance lsb undefined lsb pan lsb expression lsb effect control 1 lsb effect control 2 lsb undefined lsb undefined lsb gen. controller gen. controller gen. controller gen. controller 1 2 3 4 lsb lsb lsb lsb K-STATION USE IGNORED/NOT TRANSMITTED MODWHEEL (receive only) BREATH CONTROL (receive only) ARP PATTERN (0..5 = up, down, ud1, ud2, order, random) PORTAMENTO TIME USED FOR NRPN DATA VALUES VOLUME PREGLIDE SEMITONES *** -12..+12 (0=preglide disabled) ARP RATE (64..191 bpm) PAN POSITION *** NON-SYNC PAN RATE SYNC PAN RATE 0..34 (non-sync, 32Triplet..12bars) VOCODER STEREO WIDTH VOCODER SIBILANCE LEVEL MODWHEEL DISTORTION *** DISTORTION COMPENSATION MODWHEEL DELAY SEND NON-SYNC DELAY TIME SYNC DELAY TIME 0..19 (non-sync, 32Triplet..2bars) DELAY FEEDBACK DELAY STEREO WIDTH DELAY RATIO MODWHEEL REVERB SEND *** REVERB DECAY MODWHEEL CHORUS SEND *** NON-SYNC CHORUS RATE SYNC CHORUS RATE 0..34 (non-sync, 32Triplet..12bars) CHORUS FEEDBACK *** CHORUS MOD DEPTH CHORUS MOD CENTRE POINT BANK SELECT 1..4 EQ LEVEL *** (0, 1..63, 64, 65..126, 127 = LP, LPshelf, flat, HPshelf, HP) EQ FREQUENCY NON-SYNC EQ MOD RATE SYNC EQ MOD RATE 0..34 (non-sync, 32Triplet..12bars) EQ MOD DEPTH OSC1 SEMITONE *** -12..+12 OSC1 CENT *** -50..+50 OSC1 BENDWHEEL PITCH AMOUNT *** OSC1 LFO1 PITCH AMOUNT *** OSC1 MOD.ENV PITCH AMOUNT *** OSC1 PULSE WIDTH POSITION *** (0=50% or in-phase double wave) OSC1 LFO2 PULSE WIDTH MOD *** OSC1 OSC2 OSC2 OSC2 OSC2 MOD.ENV PULSE WIDTH MOD *** SEMITONE *** -12..+12 CENT *** -50..+50 BENDWHEEL PITCH AMOUNT *** LFO1 PITCH AMOUNT ***

Appendix

A-2

MIDI Controller List

# 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 97 98 99 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 MIDI-SPECIFIED USE undefined lsb undefined lsb undefined lsb undefined lsb undefined lsb undefined lsb undefined lsb undefined lsb undefined lsb undefined lsb undefined lsb undefined lsb sustain pedal portamento on/off sostenuto pedal soft pedal legato footswitch hold 2 sound controller 1 sound controller 2 sound controller 3 sound controller 4 sound controller 5 sound controller 6 sound controller 7 sound controller 8 sound controller 9 sound controller 10 gen. controller 5 lsb gen. controller 6 lsb gen. controller 7 lsb gen. controller 8 lsb portamento control undefined undefined undefined undefined undefined undefined effects 1 depth effects 2 depth effects 3 depth effects 4 depth effects 5 depth data increment data decrement nrpn lsb nrpn msb rpn lsb rpn msb undefined undefined undefined undefined undefined undefined undefined undefined undefined undefined undefined undefined undefined undefined undefined undefined undefined undefined all sounds off reset controllers local on/off all notes off omni off omni on mono mode setup poly mode on K-STATION USE OSC2 MOD.ENV PITCH AMOUNT *** OSC2 PULSE WIDTH POSITION *** (0=50% or in-phase double wave) OSC2 LFO2 PULSE WIDTH MOD *** OSC2 MOD.ENV PULSE WIDTH MOD *** OSC3 SEMITONE *** -12..+12 OSC3 CENT *** -50..+50 OSC3 BENDWHEEL PITCH AMOUNT *** OSC3 LFO1 PITCH AMOUNT *** OSC3 MOD.ENV PITCH AMOUNT *** OSC3 PULSE WIDTH POSITION *** (0=50% or in-phase double wave) OSC3 LFO2 PULSE WIDTH MOD *** OSC3 MOD.ENV PULSE WIDTH MOD *** SUSTAIN / MOMENTARY ARP LATCH ON ENVELOPE MODES / OSC WAVEFORM KEYSYNC (see packed parameter 1) UNISON / VOICE TYPE / FILTER TYPE (see packed parameter 2) UNISON DETUNE INDIVIDUAL OSCILLATOR RANDOM DETUNE OSC 1,2,3 WAVEFORM / PORTAMENTO MODE (see packed parameter 3) OSC 1,2,3 OCTAVE / OSC 1>2 SYNC (see packed parameter 4) OSC1 LEVEL (to filter) OSC2 LEVEL (to filter) OSC3 LEVEL (to filter) NOISE LEVEL (to filter) OSC 1*2 RINGMOD LEVEL (to filter) EXTERNAL INPUT (to filter) LFO 1,2 WAVEFORM / DELAY MULTI MODE (see packed parameter 5) LFO 1,2 KEYSYNC / LOCK / PHASE CONTROL (see packed parameter 6) NON-SYNC LFO1 SPEED SYNC LFO1 SPEED (0=NON-SYNC) LFO1 DELAY (GRADUAL ONSET TIME) NON-SYNC LFO2 SPEED SYNC LFO2 SPEED (0=NON-SYNC) LFO2 DELAY (GRADUAL ONSET TIME) - (may be used in future software releases) ARPEGGIATOR SYNC SETTING 0..15 (32Triplet..1 bar) ARPEGGIATOR GATE TIME (100+ GIVES TIED NOTE IN MONO MODE) ARPEGGIATOR CONTROL (see packed parameter 7) REVERB SEND LEVEL DELAY SEND LEVEL CHORUS SEND LEVEL PAN MOD DEPTH VOCODER BALANCE (0=off 64=full vocoder 127=modulator only) NRPN NUMBER IGNORED / NOT TRANSMITTED (for future compatibility, assume value is 0) FILTER FREQUENCY LFO2 MOD DEPTH *** FILTER Q NORMALISE (127=zero filter drive at max resonance) FILTER OVERDRIVE FILTER FREQUENCY FILTER RESONANCE FILTER FREQUENCY MOD.ENV DEPTH *** AMPLITUDE ENVELOPE ATTACK AMPLITUDE ENVELOPE DECAY AMPLITUDE ENVELOPE SUSTAIN AMPLITUDE ENVELOPE RELEASE AMPLITUDE ENVELOPE VELOCITY DEPTH *** - (may be used in future software releases) MOD. ENVELOPE ATTACK MOD. ENVELOPE DECAY MOD. ENVELOPE SUSTAIN MOD. ENVELOPE RELEASE MOD. ENVELOPE VELOCITY DEPTH *** VOICE LEVEL TO OUTPUT & EFFECTS ALL NOTES OFF WITH FAST RELEASE (receive only) RESET CONTROLLERS (receive only) LOCAL ON/OFF ALL NOTES OFF (receive only) ALL NOTES OFF (receive only) ALL NOTES OFF (receive only) ALL NOTES OFF (receive only) ALL NOTES OFF (receive only)

A-3

Appendix

MIDI NRPN List

MIDI NRPN List
The K-Station uses a few NRPNs as detailed below. Since less than 128 of them are used, only one NRPN msb (bank) is needed. Therefore only the NRPN lsb is transmitted/received and the NRPN msb is ignored and is not transmitted. For future compatibility, assume that the NRPN msb is 0. NRPN lsb 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27-31 K-STATION USE FM FIXED LEVEL FM ENVELOPE DEPTH *** FM ENVELOPE VELOCITY DEPTH *** FM ENVELOPE ATTACK FM ENVELOPE DECAY OSCs 1,2,3 MODWHEEL DIRECT PITCH DEPTH *** OSCs 1,2,3 AFTERTOUCH DIRECT PITCH DEPTH *** OSCs 1,2,3 BREATH DIRECT PITCH DEPTH *** OSCs 1,2,3 MODWHEEL LFO1 PITCH DEPTH *** OSCs 1,2,3 AFTERTOUCH LFO1 PITCH DEPTH *** OSCs 1,2,3 BREATH LFO1 PITCH DEPTH *** FILTER KEYBOARD TRACKING (0=NONE, 127=PRECISE PITCH TRACK) FILTER MODWHEEL DIRECT FREQUENCY DEPTH *** FILTER AFTERTOUCH DIRECT FREQUENCY DEPTH *** FILTER BREATH DIRECT FREQUENCY DEPTH *** FILTER MODWHEEL LFO2 FREQUENCY DEPTH *** FILTER AFTERTOUCH LFO2 FREQUENCY DEPTH *** FILTER BREATH LFO2 FREQUENCY DEPTH *** AMPLITUDE MODWHEEL DIRECT DEPTH *** AMPLITUDE AFTERTOUCH DIRECT DEPTH *** AMPLITUDE BREATH DIRECT DEPTH *** EFFECTS TYPE CONTROL (see packed parameter 8) EFFECTS GLOBAL SYNC CONTROL (see packed parameter 9) EFFECTS, VOCODER & EXTERNAL AUDIO CONTROL (see packed parameter 10) RESERVED EFFECTS SELECT/ KEYBOARD OCTAVE (see packed parameter 11) OSC SELECT, NOISE RING EXTERNAL SELECT PWM SOURCE SELECT LFO SELECT ( (see packed parameter 12) - (may be used in future software releases)

NRPNs FOR GLOBAL DATA (not part of programs) 32 33 34-37 38 39 40 41 42 43 44 45 46 47 48 49 50 -127 MIDI RECEIVE CHANNEL 0..15 MIDI TRANSMIT CHANNEL 0..15 - (may be used in future software releases) MIDI CLOCK SOURCE (0=internal 1=external) - (may be used in future software releases) MASTER TUNE CENTS *** VELOCITY CURVE (0=soft 1=hard) EXTERNAL INPUT RANGE (0=line 1=mic) EXTERNAL INPUT TRIM (-10..+20 dB) EXTERNAL INPUT TRIGGER SENSITIVITY (0 is most sensitive) GLOBAL SYNC TYPE (0,1,2 = note when all notes off, first note after prog change, midi song start) PARAMETER MOMENTARY DISPLAY TIME (off.200..1200mS) MENU INITIAL PAGE MODE (0=first 1=last used) KEYBOARD TRANSMIT CHANNEL NON MEMU MODE DISPLAY TIMEOUT NONE / PERMANENT 0=TIME 1=PERMANENT - (may be used in future software releases)

Appendix

A-4

Packed Controller / NRPN Parameter Details

Packed Controller / NRPN Details
Refer to the lists of MIDI Controllers and NRPNs on Pages 42 - 44. 1 ENVELOPES SINGLE-MULTI / OSC WAVEFORM KEYSYNC bit 0 amp env trigger 0=single 1=multi bit 1 mod env trigger 0=single 1=multi bit 2 fm env trigger 0=single 1=multi bits 3-6 4-bit wave keysync phase 0=free-running 1..15 = 0..336 degrees in 24 degree steps UNISON / POLY MODE / FILTER TYPE bits 0-2 3-bit unison count 0=off 1..7=2..8 voices bits 3-4 2-bit voice polyphony mode 0=mono 1=mono autoglide 2=poly 3=poly with same note voice stealing bit 5 filter type 0=12dB 1=24dB per octave OSC 1/2/3 WAVEFORM / PORTAMENTO MODE bits 0-1 2-bit osc1 waveform sine, tri, saw, square (pulse) bits 2-3 2-bit osc2 waveform sine, tri, saw, square (pulse) bits 4-5 2-bit osc3 waveform sine, tri, saw, square (pulse) bit 6 portamento mode 0=exponential 1=linear OSC 1,2,3 OCTAVE / OSC 1>2 SYNC bits 0-1 2-bit osc1 octave -1,0,1,2 bits 2-3 2-bit osc2 octave -1,0,1,2 bits 4-5 2-bit osc3 octave -1,0,1,2 bit 6 osc1>2 sync 1=on LFO 1,2 WAVEFORM / DELAY MULTI MODE bit 0 lfo1 delay multi 1=on bit 1 lfo2 delay multi 1=on bits 2-3 2-bit lfo1 waveform tri, saw, square, s/h bits 4-5 2-bit lfo2 waveform tri, saw, square, s/h LFO 1,2 KEYSYNC / LOCK / PHASE CONTROL bit 0 lfo1 keysync phase shift bit 1 lfo1 keysync 1=on bit 2 lfo1 lock 0=independent per voice 1=all voices same phase bit 3 lfo2 keysync phase shift bit 4 lfo2 keysync 1=on bit 5 lfo2 lock 0=independent per voice 1=all voices same phase note that when lock is on, keysync becomes global sync (ie note when all notes off, first note after prog change, song start message) ARPEGGIATOR CONTROL bits 0-1 2-bit number of octaves 1,2,3,4 bit 2 arpeggiator off/on 1=on bit 3 arpeggiator keysync control 1=on bit 4 arpeggiator latch control 1=on EFFECTS TYPE CONTROL bits 0-2 3-bit reverb type Ec Sr Sh Lr Lh gh (values 6,7 not used) bit 3 chorus/phaser control 0=chorus 1=phaser EFFECTS GLOBAL SYNC CONTROL bits 0-1 2-bit chorus global sync off,left,centre,right bits 2-3 2-bit pan global sync off,left,centre,right bits 4-5 2-bit eq frequency global sync off,low,mid,high EFFECTS, VOCODER & EXTERNAL AUDIO CONTROL bit 3 vocoder sibilance type 0=hi-pass 1=noise bit 5 external audio trigger control 1=enabled bit 6 external audio to fx control 1=enabled EFFECTS SELECT/ KEYBOARD OCTAVE bits 0-2 0=Delay 1=reverb 2=chorus 3=distortion 4=EQ 5=panning 6=vocoder bit 3,4,5,6 Signed value 0 = Nominal Octave where middle C is 261Hz -4 = Lowest Octave +5 = Highest octave OSC SELECT, NOISE RING EXTERNAL SELECT PWM SOURCE SELECT LFO SELECT bits 0-1 Osc Select 0=1 1=2 2=3 bits 2-3 0=Noise 1=Ring1,2 2=External Input bits 4-5 0=PW Position 1=LFO2 Mod 2=Mod Env Modbits 4-5 bit 6 LFO Select 0= LFO1 1=LFO2

10

11

12

A-5

Appendix

MIDI System Exclusive

MIDI System Exclusive Message Formats
SYSEX MESSAGE COMMON FORMAT
F0h 00h 20h 29h 01h 41h SyCh M C Vv Vi B P SYSEX START NOVATION ID 1 NOVATION ID 2 NOVATION ID 3 DEVICE TYPE K-STATION SYSEX CHANNEL MESSAGE TYPE CONTROL BYTE SOFTWARE VERSION VERSION INCREMENT 0..99 PROGRAM BANK 1..4 PROGRAM NUMBER 0..99 DATA BLOCK . . DATA BLOCK F7h END OF EXCLUSIVE

(1 = Synth) (Always transmitted as 7Fh for receive can be 7Fh or the receive channel) (Current Sound, Program, Global data etc. See following Messages) (Used to control destination bank when program dumps are received) (Bits:- 0VVVV.vvv eg 00001000 = version 1.0) (Hold keypad "5" during power-up to view the full version eg 1.0.06) (Zero if not appropriate) (Zero if not appropriate) ( ( ( ( data block(s) included if appropriate to message type ) ) ) )

Note: Currently, the software version and version increment bytes are transmitted for information only and are ignored when a message is received. Future software releases may, on receipt of some message types from an earlier version, alter the data before storing it. This will only apply to messages which contain data blocks. To ensure future compatibility, librarian programs should always maintain a match between the Vv and Vi byte values and the data block content. SYSEX DATA DUMP MESSAGES CURRENT SOUND DUMP When received, this will be the active sound. It is not stored in flash. The source bank and program number are irrelevant and the control byte is ignored. F0h 00h 20h 29h 01h 41h SyCh 00h 00h Vv Vi 00h 00h SYSEX START NOVATION ID 1 NOVATION ID 2 NOVATION ID 3 DEVICE TYPE K-STATION SYSEX CHANNEL MESSAGE TYPE CONTROL BYTE SOFTWARE VERSION VERSION INCREMENT PROGRAM BANK PROGRAM NUMBER PROGRAM BLOCK 128 bytes F7h END OF EXCLUSIVE

Transmitted 7Fh : Received 7Fh or current receive channel Current sound dump Transmitted 0 : Received don't care Transmitted 0 : Received don't care Transmitted 0 : Received don't care See PROGRAM DATA BLOCK On page A-10 for format

PROGRAM DUMP When received, the sound is stored in flash at the supplied bank and program number if C = 1. If C = 0, the bank used is the currently selected bank. F0h 00h 20h 29h 01h 41h SyCh 01h C Vv Vi B P F7h SYSEX START NOVATION ID 1 NOVATION ID 2 NOVATION ID 3 DEVICE TYPE K-STATION SYSEX CHANNEL MESSAGE TYPE CONTROL BYTE SOFTWARE VERSION VERSION INCREMENT PROGRAM BANK PROGRAM NUMBER PROGRAM BLOCK 128 bytes. END OF EXCLUSIVE

Transmitted 7Fh : received 7Fh or current receive channel Program dump 0 or 1 destination bank control Transmitted 1-4 : received don't care if C=0 0-99 See PROGRAM DATA BLOCK On page A-10 for format

Appendix

A-6

MIDI System Exclusive

MIDI System Exclusive Message Formats
PROGRAM PAIR DUMP Conveys two adjacent programs where the first is even-numbered eg 98+99. Note that P must be even. When received, the two sounds are stored in flash at the supplied bank and program number if C = 1. If C = 0, the bank used is the currently selected bank. F0h 00h 20h 29h 01h 41h SyCh 02h C Vv Vi B P SYSEX START NOVATION ID 1 NOVATION ID 2 NOVATION ID 3 DEVICE TYPE K-STATION SYSEX CHANNEL MESSAGE TYPE CONTROL BYTE SOFTWARE VERSION VERSION INCREMENT PROGRAM BANK PROGRAM NUMBER PROGRAM BLOCK 128 bytes. PROGRAM BLOCK 128 bytes. F7h END OF EXCLUSIVE

Transmitted 7Fh : Received 7Fh or current receive channel Program pair dump 0 or 1 destination bank control Transmitted 1-4 : received don't care if C=0 0,2,4.98 Even numbered program - See PROGRAM DATA BLOCK On page A-10 for format Odd numbered program - See PROGRAM DATA BLOCK On page A-10 for format

Note: the purpose of the program pair dump is for internal efficiency in flash memory storage. This message type is used for all bank dumps invoked from the front panel. A full bank dump consists of 50 program pair dumps. When a single bank dump is transmitted, C=0 such that the receiving K-Station current bank will be the destination. When an all banks dump is transmitted, C=1 such that the receiving Station will store the programs in the bank given in the B byte. When a third party librarian or device receives either a program dump or program pair dump, it can ignore the C value but when it transmits one of these dumps to a K-Station, it must be aware of the effect of the C value. GLOBAL DATA DUMP When received, the flash global data block is overwritten. The source bank and program number are irrelevant and the control byte is ignored. F0h 00h 20h 29h 01h 41h SyCh 03h 00h Vv Vi 00h 00h SYSEX START NOVATION ID 1 NOVATION ID 2 NOVATION ID 3 DEVICE TYPE K-STATION SYSEX CHANNEL MESSAGE TYPE CONTROL BYTE SOFTWARE VERSION VERSION INCREMENT (PROGRAM BANK) (PROGRAM NUMBER) GLOBAL DATA BLOCK 256 bytes. F7h END OF EXCLUSIVE

Transmitted 7Fh : received 7Fh or current receive channel Global data dump Transmitted 0 : received don't care Transmitted 0 : Received don't care Transmitted 0 : Received don't care See GLOBAL DATA BLOCK On page A-10 for format

SYSEX REQUEST MESSAGES (receive only) CURRENT SOUND DUMP REQUEST F0h 00h 20h 29h 01h 41h SyCh 40h 00h Vv Vi 00h 00h F7h SYSEX START NOVATION ID 1 NOVATION ID 2 NOVATION ID 3 DEVICE TYPE K-STATION SYSEX CHANNEL MESSAGE TYPE CONTROL BYTE SOFTWARE VERSION VERSION INCREMENT PROGRAM BANK PROGRAM NUMBER END OF EXCLUSIVE

7Fh or current receive channel Current sound dump request Don't care Ddon't care Ddon't care Don't care Don't care

A-7

Appendix

MIDI System Exclusive

MIDI System Exclusive Message Formats - Receive Requests
SYSEX REQUEST MESSAGES (receive only) PROGRAM DUMP REQUEST F0h 00h 20h 29h 01h 41h SyCh 41h C Vv Vi B P F7h SYSEX START NOVATION ID 1 NOVATION ID 2 NOVATION ID 3 DEVICE TYPE K-STATION SYSEX CHANNEL MESSAGE TYPE CONTROL BYTE SOFTWARE VERSION VERSION INCREMENT PROGRAM BANK PROGRAM NUMBER END OF EXCLUSIVE

7Fh or current receive channel Program dump request Reply will copy this value for C Don't care Don't care 1-4 : don't care if C=0 0-99

PROGRAM PAIR DUMP REQUEST F0h 00h 20h 29h 01h 41h SyCh 42h C Vv Vi B P F7h SYSEX START NOVATION ID 1 NOVATION ID 2 NOVATION ID 3 DEVICE TYPE K-STATION SYSEX CHANNEL MESSAGE TYPE CONTROL BYTE SOFTWARE VERSION VERSION INCREMENT PROGRAM BANK PROGRAM NUMBER END OF EXCLUSIVE

7Fh or current receive channel Program pair dump request Reply will copy this value for C Don't care Don't care 1-4 : Don't care if C=0 0,2,4.98

GLOBAL DATA DUMP REQUEST F0h 00h 20h 29h 01h 41h SyCh 43h 00h Vv Vi 00h 00h F7h SYSEX START NOVATION ID 1 NOVATION ID 2 NOVATION ID 3 DEVICE TYPE K-STATION SYSEX CHANNEL MESSAGE TYPE CONTROL BYTE SOFTWARE VERSION VERSION INCREMENT (PROGRAM BANK) (PROGRAM NUMBER) END OF EXCLUSIVE

7Fh or current receive channel Global data dump request Don't care Don't care Ddon't care Don't care Don't care

Appendix

A-8

MIDI System Exclusive

MIDI System Exclusive Message Formats
GLOBAL DATA BLOCK (256 bytes) Byte 0 1 2 3 4 5 6-9 10 11 12 13 14 15 16 17 18 19 20 21 22 23-255 Parameter POWER-UP PROGRAM BANK 1..4 POWER-UP PROGRAM NUMBER 0..99 MEMORY PROTECT (0=protected 1=not protected) MIDI LOCAL CONTROL (0=off 127=on) MIDI RECEIVE CHANNEL 0..15 MIDI TRANSMIT CHANNEL 0..15 --- (may be used in future software releases) MIDI CLOCK SOURCE (0=internal 1=external) --- (may be used in future software releases) MASTER TUNE CENTS *** VELOCITY CURVE (0=soft 1=hard) EXTERNAL INPUT RANGE (0=line 1=mic) EXTERNAL INPUT TRIM (-10..+20 dB) EXTERNAL INPUT TRIGGER SENSITIVITY (0 is most sensitive) GLOBAL SYNC TYPE (0,1,2 = note when all notes off, first note after prog change, midi song start) PARAMETER MOMENTARY DISPLAY TIME (off.200..1200mS) MENU INITIAL PAGE MODE (0=first 1=last used) KEYBOARD/WHEELS MIDI TRANSMIT CHANNEL 0..15 PROGRAM MODE PARAMETER DISPLAY MODE (0=timed 1=permanent) KEYBOARD OCTAVE SHIFT ALL-NOTES-OFF CONTROL (0=off 1=kill notes & send midi all-notes-off) --- (may be used in future software releases) Zeros are transmitted. Use zeros for future compatibility

DATA BLOCKS USED IN SYSEX MESSAGES See Midi Controller Map for further details of parameters and meaning of ***. PROGRAM DATA BLOCK (128 bytes) Byte 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 Parameter UNISON / VOICE TYPE / FILTER TYPE (see packed parameter 2) UNISON DETUNE INDIVIDUAL OSCILLATOR RANDOM DETUNE PORTAMENTO TIME PREGLIDE SEMITONES *** -12..+12 (0=preglide disabled) OSC 1,2,3 WAVEFORM / PORTAMENTO MODE (see packed parameter 3) OSC 1,2,3 OCTAVE / OSC 1>2 SYNC (see packed parameter 4) OSC1 OSC1 OSC1 OSC1 OSC1 OSC1 OSC1 OSC1 OSC2 OSC2 OSC2 OSC2 OSC2 OSC2 OSC2 OSC2 OSC3 OSC3 OSC3 OSC3 OSC3 OSC3 OSC3 OSC3 OSCs OSCs OSCs OSCs OSCs OSCs SEMITONE *** -12..+12 CENT *** -50..+50 BENDWHEEL PITCH AMOUNT *** LFO1 PITCH AMOUNT *** MOD.ENV PITCH AMOUNT *** PULSE WIDTH POSITION *** (0=50% or in-phase double wave) LFO2 PULSE WIDTH MOD *** MOD.ENV PULSE WIDTH MOD *** SEMITONE *** -12..+12 CENT *** -50..+50 BENDWHEEL PITCH AMOUNT *** LFO1 PITCH AMOUNT *** MOD.ENV PITCH AMOUNT *** PULSE WIDTH POSITION *** (0=50% or in-phase double wave) LFO2 PULSE WIDTH MOD *** MOD.ENV PULSE WIDTH MOD *** SEMITONE *** -12..+12 CENT *** -50..+50 BENDWHEEL PITCH AMOUNT *** LFO1 PITCH AMOUNT *** MOD.ENV PITCH AMOUNT *** PULSE WIDTH POSITION *** (0=50% or in-phase double wave) LFO2 PULSE WIDTH MOD *** MOD.ENV PULSE WIDTH MOD *** 1,2,3 1,2,3 1,2,3 1,2,3 1,2,3 1,2,3 MODWHEEL DIRECT PITCH DEPTH *** AFTERTOUCH DIRECT PITCH DEPTH *** BREATH DIRECT PITCH DEPTH *** MODWHEEL LFO1 PITCH DEPTH *** AFTERTOUCH LFO1 PITCH DEPTH *** BREATH LFO1 PITCH DEPTH ***

A-9

Appendix

MIDI System Exclusive

MIDI System Exclusive Message Formats
PROGRAM DATA BLOCK (continued) 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 OSC1 LEVEL (to filter) OSC2 LEVEL (to filter) OSC3 LEVEL (to filter) NOISE LEVEL (to filter) OSC 1*2 RINGMOD LEVEL (to filter) EXTERNAL INPUT (to filter) FILTER FILTER FILTER FILTER FILTER FILTER FILTER FILTER FILTER FILTER FILTER FILTER FILTER FM FM FM FM FM OVERDRIVE RESONANCE Q NORMALISE (127=zero filter drive at max resonance) FREQUENCY KEYBOARD TRACKING (0=NONE, 127=PRECISE PITCH TRACK) MODWHEEL DIRECT FREQUENCY DEPTH *** AFTERTOUCH DIRECT FREQUENCY DEPTH *** BREATH DIRECT FREQUENCY DEPTH *** FREQUENCY LFO2 MOD DEPTH *** FREQUENCY MOD.ENV DEPTH *** MODWHEEL LFO2 FREQUENCY DEPTH *** AFTERTOUCH LFO2 FREQUENCY DEPTH *** BREATH LFO2 FREQUENCY DEPTH ***

FIXED LEVEL ENVELOPE DEPTH *** ENVELOPE VELOCITY DEPTH *** ENVELOPE ATTACK ENVELOPE DECAY ENVELOPE ENVELOPE ENVELOPE ENVELOPE ENVELOPE VELOCITY DEPTH *** ATTACK DECAY SUSTAIN RELEASE

AMPLITUDE AMPLITUDE AMPLITUDE AMPLITUDE AMPLITUDE

MOD. ENVELOPE VELOCITY DEPTH *** MOD. ENVELOPE ATTACK MOD. ENVELOPE DECAY MOD. ENVELOPE SUSTAIN MOD. ENVELOPE RELEASE --- (may be used in future software releases) NON-SYNC LFO1 SPEED SYNC LFO1 SPEED (0=NON-SYNC) LFO1 DELAY (GRADUAL ONSET TIME) NON-SYNC LFO2 SPEED SYNC LFO2 SPEED (0=NON-SYNC) LFO2 DELAY (GRADUAL ONSET TIME) LFO 1,2 WAVEFORM / DELAY MULTI MODE (see packed parameter 5) LFO 1,2 KEYSYNC / LOCK / PHASE CONTROL (see packed parameter 6) ENVELOPE MODES / OSC WAVEFORM KEYSYNC (see packed parameter 1) AMPLITUDE MODWHEEL DIRECT DEPTH *** AMPLITUDE AFTERTOUCH DIRECT DEPTH *** AMPLITUDE BREATH DIRECT DEPTH *** ARPEGGIATOR/GENERAL SYNC RATE (64..191 bpm) ARPEGGIATOR SYNC SETTING 0..15 (32Triplet..1 bar) ARPEGGIATOR GATE TIME (100+ GIVES TIED NOTE IN MONO MODE) ARP PATTERN (0..5 = up, down, ud1, ud2, order, random) ARPEGGIATOR CONTROL (see packed parameter 7) VOCODER BALANCE (0=off 64=full vocoder 127=modulator only) VOCODER STEREO WIDTH VOCODER SIBILANCE LEVEL

Appendix

A-10

MIDI System Exclusive

MIDI System Exclusive Message Formats
PROGRAM DATA BLOCK (continued) 92 93 94 95 96 97 98 99 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 EQ LEVEL *** (0, 1..63, 64, 65..126, 127 = LP, LP shelf, flat, HP shelf, HP) EQ FREQUENCY NON-SYNC EQ MOD RATE SYNC EQ MOD RATE 0..34 (non-sync, 32Triplet..12bars) EQ MOD DEPTH DISTORTION LEVEL MODWHEEL DISTORTION *** DISTORTION COMPENSATION DELAY SEND LEVEL MODWHEEL DELAY SEND NON-SYNC DELAY TIME SYNC DELAY TIME 0..19 (non-sync, 32Triplet..2bars) DELAY FEEDBACK DELAY STEREO WIDTH DELAY RATIO REVERB SEND LEVEL MODWHEEL REVERB SEND *** REVERB DECAY CHORUS SEND LEVEL MODWHEEL CHORUS SEND *** NON-SYNC CHORUS RATE SYNC CHORUS RATE 0..34 (non-sync, 32Triplet..12bars) CHORUS FEEDBACK *** CHORUS MOD DEPTH CHORUS MOD CENTRE POINT PAN POSITION *** NON-SYNC PAN RATE SYNC PAN RATE 0..34 (non-sync, 32Triplet..12bars) PAN MOD DEPTH EFFECTS TYPE CONTROL (see packed parameter 8) EFFECTS GLOBAL SYNC CONTROL (see packed parameter 9) EFFECTS, VOCODER & EXTERNAL AUDIO CONTROL (see packed parameter 10) --- (may be used in future software releases) VOICE LEVEL TO OUTPUT & EFFECTS EFFECT TYPE SELECTOR/KEYBOARD OCTAVE (see packed parameter 11) OSC, SOURCE, PW, LFO SELECTORS (see packed parameter 12)

GLOBAL DATA BLOCK (256 bytes) Byte 0 1 2 3 4 5 6-9 10 11 12 13 14 15 16 17 18 19 20 21 22 23-255 Parameter POWER-UP PROGRAM BANK 1..4 POWER-UP PROGRAM NUMBER 0..99 MEMORY PROTECT (0=protected 1=not protected) MIDI LOCAL CONTROL (0=off 127=on) MIDI RECEIVE CHANNEL 0..15 MIDI TRANSMIT CHANNEL 0..15 --- (may be used in future software releases) MIDI CLOCK SOURCE (0=internal 1=external) --- (may be used in future software releases) MASTER TUNE CENTS *** VELOCITY CURVE (0=soft 1=hard) EXTERNAL INPUT RANGE (0=line 1=mic) EXTERNAL INPUT TRIM (-10..+20 dB) EXTERNAL INPUT TRIGGER SENSITIVITY (0 is most sensitive) GLOBAL SYNC TYPE (0,1,2 = note when all notes off, first note after prog change, midi song start) PARAMETER MOMENTARY DISPLAY TIME (off.200..1200mS) MENU INITIAL PAGE MODE (0=first 1=last used) KEYBOARD/WHEELS MIDI TRANSMIT CHANNEL 0..15 PROGRAM MODE PARAMETER DISPLAY MODE (0=timed 1=permanent) KEYBOARD OCTAVE SHIFT ALL-NOTES-OFF CONTROL (0=off 1=kill notes & send midi all-notes-off) ...may be used in future software releases) Zeros are transmitted. Use zeros for future compatibility

A-11

Appendix

MIDI Implementation Chart

MIDI Implementation Chart
Model : Novation K-Station
Function Basic Channel Default Changed 1 - 16 1 - 16 Transmitted 1 - 16 1 - 16 Recognised Memorised

Date 24/1/02 Version 1.0

Remarks

Mode

Default Messages Altered

X ***********

MODE 3 - 4 X

Memorised in Program Data

Note Number

True Voice

0 - 127 ************

0 -127

Velocity

Note On Note Off

O v = 1 - 127 X

O v = 1 - 127 X

Aftertouch

Keys Channel

X X

X O

Pitch Bend

8 Bit data

Control Change

1, 3, 5 - 10 12 - 37, 40 - 65 67 - 85, 87 - 89 91 - 95, 98, 100 102 - 112, 114 - 119

1 - 3, 5 - 10 12 - 37, 40 - 65 67 - 85, 87 - 89 91 - 95, 98, 100 102 - 112, 114 - 127

See Controller & NRPN tables for full details

Program Change

True

0 - 99 ***********

0 - 99

System Exclusive

Program & Global data dumps, OS upgrades

System Real-Time

Start Song, Clock

System Common

Aux Messages

Local On All Notes Off Active Sense Reset Control All Sound Off

O O X X X

O O X O O

Mode 1 : OMNI ON, POLY Mode 3 : OMNI OFF, POLY

Mode 2 : OMNI ON, MONO Mode 4 : OMNI OFF, MONO

O : Yes X : No

Appendix

A-12

Index
Aftertouch.......................................................... 11, 37, A-4,A-9 Amp Gain.............................................................................. 37 Filter Freq Shift..................................................................... 37 Osc Pitch Mod...................................................................... 37 Osc Pitch Shift...................................................................... 37 AMP Envelope........................................................ 4, 18, 24, 27 Amplifier.......................................................................... 5, 8, 37 Arpeggiator....................................................................... 19, 38 Gate Time............................................................................. 38 Keysync................................................................................ 38 Latch..................................................................................... 38 Octave Range....................................................................... 38 ON / OFF Button................................................................... 19 Patterns................................................................................. 38 Sync Type............................................................................. 38 TEMPO Knob........................................................................ 19 Audio Input.................................................................... 2, 27, 36 Sensitivity.............................................................................. 36 Triggering........................................................................ 27, 36 Trim dB................................................................................. 36 Audio Path................................................................................ 5 Breath Control........................................................................37 Amp Gain.............................................................................. 37 Filter Freq Shift..................................................................... 37 Osc Pitch Mod...................................................................... 37 Osc Pitch Shift...................................................................... 37 Chorus Effect........................................................... 20, 29 - 30 Feedback.............................................................................. 30 Mod Centre........................................................................... 30 Mod Depth............................................................................ 30 Rate...................................................................................... 29 Sync Initial Position.............................................................. 30 Sync Rate............................................................................. 29 Type...................................................................................... 29 Wheel Level.......................................................................... 30 COMPARE Button......................................................... 4, 13, 22 Comparing Programs.......................................................... 4, 22 Connections.............................................................................. 3 Control Change.............................................2, 10, 40 - 43, A-12 Cutoff Frequency....................................................................... 7 Data Compatibility............................................................ 2, 33 DATA / PROGRAM knob.............................................. 3, 13, 21 Delay Effect....................................................................... 20, 28 Feedback.............................................................................. 28 Stereo Width......................................................................... 28 Sync...................................................................................... 28 Time...................................................................................... 28 Time Ratio............................................................................. 28 Wheel Level.......................................................................... 28 Demo track................................................................................ 4 Display........................................................................ 13, 21, 36 Display Contrast...................................................................... 34 Display Times & Freqs............................................................ 35 Displaying a Program Edit.......................................................21 Distortion Effect................................................................. 20, 30 Level Compensation............................................................. 30 Wheel Level.......................................................................... 30 Editing Sounds........................................................................ 4 Effects.....................................................................2, 20, 28 - 33 External Audio Input........................................................ 27,36 LEVEL Knob.................................................................. 20 - 21 SELECT Buttons....................................................... 20, 21, 22 SELECT LEDs................................................................ 20, 36 Elements Of A Sound............................................................... 5 Envelopes................................................................ 5, 8, 26 - 27 ATTACK Knob / Slider....................................................... 8, 18 DECAY Knob / Slider........................................................ 8, 18 Multi Trigger.......................................................................... 27 RELEASE Knob / Slider................................................ 4, 8, 18 SUSTAIN Knob / Slider................................................. 4, 8, 18 EQ Effect........................................................................... 20, 31 Frequency Point.............................................................. 20, 31 Mod Depth............................................................................ 31 Mod Rate.............................................................................. 31 Sync Initial Position............................................................... 31 Sync Mod Rate..................................................................... 31 Filter......................................................... 2, 5, 7, 17, 25, 27, 37 External Audio....................................................................... 27 FREQUENCY Knob........................................................ 14, 17 KEY TRACK Knob................................................................ 17 LFO 2 DEPTH Knob............................................................. 17 MOD ENV DEPTH Knob...................................................... 17 Overdrive.............................................................................. 25 Q Normalise.................................................................... 14, 25 Resonance.................................................................. 7, 17, 20 RESONANCE Knob.......................................................... 7, 17 SLOPE Button.................................................................. 7, 17 FM Synthesis.............................................................. 24, 26, 27 Env Attack............................................................................. 27 Env Decay............................................................................. 27 Envelope Amount.................................................................. 24 Manual Level......................................................................... 24 Front Panel Layout.................................................................. 13 Global Menu........................................................................... 35 Global Sync.......................................................... 30, 31, 32, 35 Harmonic Content................................................................... 6 Keypad Buttons.................................................... 3, 13, 14, 22 LFOs................................................................. 5, 9, 18, 25 - 26 Common To All Voices.................................................. 25 - 26 DELAY Knob......................................................................... 18 Delay Multi Trigger................................................................ 25 Keysync................................................................................ 25 Select Button......................................................................... 18 SPEED Knob........................................................................ 18 Sync Rate............................................................................. 26 Local control.............................................................. 12, 35, A-9 Master Tune........................................................................... 35 Memories.............................................................................. 3, 9 Memory protect....................................................... 4, 33, 34, 36 Menu Always Page One......................................................... 36 Menu Mode................ 14, 21, 22, 23, 25, 26, 28, 33, 35, 37, 38 MENUS Button.................................................................. 13, 14 MIDI....................... 3, 10 - 11, 19, 21, 28, 29, 31, 32, 35, A2-12 Channel Messages.................................................................. 11 Clock................................................. 11, 19, 28, 29, 31, 32, 35 Clock Input Status................................................................. 35 Connection.................................................................. 3, 10, 12 Controllers............................................................................. 10 Implementation Chart.................................................. 11, A-12 Keyboard Transmit Channel................................................. 35 Messages........................................................... 10 - 11, A2-12 Receive Channel................................................................... 35 Sockets............................................................................. 3, 10 Transmit Channel.................................................................. 35 Tutorial........................................................................... 10 - 11 Mixer............................................................................... 5, 6, 16 LEVEL Knob......................................................................... 16 OSC Knobs........................................................................... 16 SOURCE Button................................................................... 16 MOD Envelope.............................................................. 8, 18, 27

I-1

Index

Index
Mode Selection....................................................................... 22 Modulation Wheel........................................... 13, 28, 29, 30, 34 Calibrating............................................................................. 34 Noise.................................................................................. 6, 16 Note Messages................................................................. 10, 19 NRPNs................................................................... 2, 10 - 11, 42 OCTAVE Buttons (keyboard)......................................... 13, 19 Operating System Upgrade..................................................... 11 Original Value ......................................................................... 21 Oscillators.................................................... 2, 5, 15, 23 - 24, 37 DETUNE Knob...................................................................... 15 LFO 1 DEPTH Knob............................................................. 15 MOD ENV DEPTH Knob....................................................... 15 OCTAVE Button.................................................................... 15 PORTAMENTO Knob............................................................ 15 SEMITONE Knob.................................................................. 15 Select Button......................................................................... 15 Start Phase........................................................................... 23 Sync............................................................................... 23 - 24 Unison Detune...................................................................... 23 Unison Voices....................................................................... 23 VCO Drift............................................................................... 23 Voice Mode........................................................................... 23 WAVEFORM Button.............................................................. 15 Waveforms........................................................................ 5, 15 Outputs...................................................................................... 3 PAGE / PROGRAM Buttons........................................ 3, 14, 21 Panning Effect................................................................... 20, 32 Mod Depth............................................................................ 32 Rate...................................................................................... 32 Sync Initial Position............................................................... 32 Sync Rate............................................................................. 32 Function Display Time............................................................ 36 Pitch...................................................................................... 5, 9 Pitch Bend Messages..................................................... 11,A-12 Pitch bend Wheel.............................................................. 13, 34 Calibrating............................................................................. 34 Polyphony................................................................................ 23 Portamento........................................................................ 15, 23 Power Socket............................................................................ 3 Preset Programs....................................................... 3, 4, 34, 39 PROGRAM Button.................................................. 3, 13, 14, 22 Program Change........................................... 3, 11, 31, 35, A-12 Program Edit Mode........................................................... 14, 21 Program Level......................................................................... 26 Program Select Mode....................................... 4, 14, 21, 22, 36 Programs........................................................................ 2, 3, 14 Pulse Width............................................................................. 15 Restoring Global Data.......................................................... 34 Restoring Programs................................................................ 34 Reverb Effect.................................................................... 20, 29 Decay Time........................................................................... 29 Type...................................................................................... 29 Wheel Level.......................................................................... 29 Ring Modulation...................................................................... 16 Saving Global Memory......................................................... 36 Saving Sounds.................................................................... 4, 22 Selecting Sounds...................................................................... 3 Sequencers...................................................... 3, 11 - 12, 19, 33 Synchronisation.................................. 11, 19, 26, 28, 29, 31, 38 System exclusive.............................................................. 11, 33 Tone.......................................................................................... 5 Utilities Menu................................................................. 33 - 34 Velocity........................................................... 10, 26, 35, A2-12 Velocity Curve......................................................................... 35 Vibrato (setting up)...................................................................37 Vocoder......................................................................... 2, 21, 33 Activating........................................................................ 21, 33 Sibilance Level...................................................................... 33 Sibilance Type....................................................................... 33 Stereo Width......................................................................... 33 Volume...................................................................................... 5 VOLUME Knob.................................................................... 3, 19 Waveforms................................................. 5, 9, 15, 18, 23 - 24 Noise....................................................................................... 5 Sample & Hold...................................................................... 18 Sawtooth........................................................................... 5, 18 Sine......................................................................................... 5 Square.............................................................................. 5, 18 Triangle................................................................................... 5 WRITE Button................................................... 4, 13, 22, 33, 34

Index

I-2

FCC Information ( U.S.A.)

1. IMPORTANT NOTICE: DO NOT MODIFY THIS UNIT! This product, when installed as indicated in the instructions contained in this Manual, meets FCC requirements. Modifications not expressly approved by Novation may void your authority, granted by the FCC, to use the product. 2. IMPORTANT: When connecting this product to accessories and/or another product use only high quality shielded cables. Cable/s supplied with this product MUST be used. Follow all installation instructions. Failure to follow instructions could void your FCC authorization to use this product in the USA. 3 NOTE: This product has been tested and found to comply with the requirements listed in FCC Regulations, Part 15 for Class B digital devices. Compliance with these requirements provides a reasonable level of assurance that your use of this product in residential environment will not result in harmful interference with other electronic devices. This equipment generates/uses radio frequencies and, if not installed and used according to the instructions found in the users manual, may cause interference harmful to the operation of other electronic devices. Compliance with FCC regulations does not guarantee that interference will not occur in all installations. If this product is found to be the source of interference, which can be determined by turning the unit OFF and ON, please try to eliminate the problem by using one of the following measures: Relocate either this product or the device that is being affected by the interference. Utilize power outlets that are on different branch (Circuit breaker or fuse) circuits or install AC line filter/s. In the case of radio or TV interference, relocate/re orient the antenna. If the antenna lead-in is 300 ohm ribbon lead, change the lead-in to co-axial type cable. If these corrective measures do not produce satisfactory results, please contact the local retailer authorized to distribute this type of product. The statements above apply ONLY to products distributed in the USA.

CANADA
The digital section of this apparatus does not exceed the Class B limits for radio noise emissions from digital apparatus set out in the radio interference regulation of the Canadian Department of Communications. Le present appareil numerique nemet pas de bruits radioelectriques depassant les limites applicables aux appareils numeriques de la Classe B prescrites dans le reglement sur le brouillage radioelectrique edicte par le Ministere Des Communications du Canada. This only applies to products distributed in Canada. Ceci ne sapplique quaux produits distribues dans Canada.

Other Standards ( Rest of World )

This product complies with the radio frequency interference requirements of the Council Directive 89/336/EC. Dette apparat overholder det gaeldenda EF-direktiv vedrrendareadiostj.Cet appareil est conforme aux prescriptions de la directivecommunautaire 89/336/EC Diese Gerte entsprechen der EG-Richtlinie 89/336/EC.

Specifications subject to change:

The information contained in this manual is believed to be correct at the time of going to press. However, Novation reserves the right to change or modify the specification without notice or obligation to update existing units. Copyright 2002 Novation Electronic Music Systems Ltd.

Part No: MAN-KST-UK Vers. 1.1a

in music, anything is possible.

Novation EMS Limited Platinum House 32 Clivemont Road Maidenhead Berkshire England SL6 7BZ Phone +44 1 628 678520 Fax +44 1 628 671122 E-mail sales@novationmusic.com Novation USA Limited Int. Toll-free Tel: 011 - 800 - NOVATION (6682-8466) E-mail salesusa@novationmusic.com Specification subject to change without prior notice.

www.novationmusic.com